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02 Dec 2022

First Stream: New Music From RM, Metro Boomin, Lewis Capaldi and More

Billboard’s First Stream 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, RM presents a bold solo vision, Metro Boomin ends another big year with a superstar affair, and Lewis Capaldi’s latest will turn your frown upside down. Check out all of this week’s First Stream picks below:

RM, Indigo 

Even with the context of every recent solo project from the members of BTS, which have presented their millions of listeners with individual aesthetics and ideas, RM’s official solo debut Indigo ruptures with artistic ambition from the opening minutes, where he raps about his humanity over a buttery R&B beat before Erykah Badu slides in with a majestic pre-chorus. Indigo wriggles free of easy classification, much like its creator: the moment one tries to peg the project as a mainstream hip-hop effort, a song like the arena-ready sing-along “Wild Flower” or the forlorn strummer “Lonely” upends expectations. RM’s curiosity balances out his natural talent on Indigo, resulting in an accomplished, multi-faceted solo step.

Metro Boomin, Heroes & Villains 

From Future to 21 Savage to The Weeknd, Metro Boomin has helped mold the sound of some of the biggest mainstream stars of the past decade as a producer and songwriter — so when he releases his own projects, they (and many others) naturally show up to pay homage. Heroes & Villains, the long-awaited follow-up to the Atlanta studio whiz’s underrated 2018 opus Not All Heroes Wear Capes, is a star-studded heat check before the end of the year that allows superstars to operate over slow-rolling beats (“Trance,” a bleary-eyed team-up between Travis Scott and Young Thug, is a highlight), as well as engage in some rollicking genre exercises (“Creepin’” joyfully re-creates Mario Winans’ “I Don’t Wanna Know” with The Weeknd and 21 Savage).

Lewis Capaldi, “Pointless”

Lewis Capaldi became a star on the strength of sorrow: his singles “Someone You Loved” and “Before You Go” grew into unlikely top 10 Hot 100 hits while embracing heart-wrenched balladry, as the singer-songwriter bet on unbridled emotion as a commercial vehicle and won handily. “Pointless,” the second taste of his upcoming sophomore album Broken By Desire to be Heavenly Sent, taps into another rush of feelings, but this one could soundtrack a wedding dance instead of a tearful night in bed: “Everything is pointless without you,” Capaldi sings, the intensity of his voice and stabs of piano drawing the listener into his love story.

Morgan Wallen, One Thing at a Time (Sampler) 

After nearly two years of watching his Dangerous: The Double Album become one of the biggest commercial LPs of the past decade, and rebuilding trust in and out of Nashville following some high-profile controversies, Morgan Wallen is setting himself up for a major 2023, with a recently announced international stadium tour accompanied by a three-song sampler of an upcoming studio project. “One Thing at a Time,” “Days That End in Why” and “Tennessee Fan” don’t try to reinvent Wallen’s appeal, instead augmenting the long-running juxtaposition between his rustic, lived-in voice and sparkling, sophisticated country-pop songwriting, while also suggesting that fans will have plenty to look forward to in the new year.

Latto feat. GloRilla & Gangsta Boo, “FTCU” 

From the moment you realize that the acronym “FTCU” stands for “f-ck the club up” in the new collaboration between Latto, GloRilla and Gangsta Boo, you hope that the trio can come as correct as Three 6 Mafia and Waka Flocka Flame did on their respective destroying-the-club anthems from different generations of hip-hop. Fortunately, they deliver: “FTCU” is pure, menacing fun, with Latto dropping threats with efficiency and GloRilla relying on her drawl to accentuate punchlines like “Walk up in your party, make that bitch my party, ayy.”

Arcangel, Sr. Santos 

Sr. Santos, the new project from former Arcangel & De La Ghetto leader Austin “Arcangel” Santos, will likely draw most of its attention toward the explosive Bad Bunny team-up “La Jumpa,” which sounds ready to dominate clubs for the foreseeable future. Although Arcangel’s new album gains strength from its high-wattage collaborators — Bizarrap, Myke Towers and Duki all swing by — the reggaetón veteran also sounds reinvigorated on the project, surrounding the guest-heavy portions of the projects with sizzling solo tracks like “La Roca” and “PortoBello.”

02 Dec 2022

Meghan Trainor on the Lessons Motherhood Taught Her – And How It Led to Comeback Hit ‘Made You Look’

In the time since Meghan Trainor dropped her third studio album Treat Myself in January 2020, her life has completely transformed. That October, she revealed that she was pregnant with her first child. She released A Very Trainor Christmas the same month, and early the following year, the 28-year-old Nantucket native welcomed her son, Riley, with her husband, Spy Kids star Daryl Sabara.

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Now a mother, Trainor says that she has learned to focus more on “what actually matters” and being her most authentic self for her new baby. That has involved spending loads of time on TikTok, posting casual videos dancing with her family or sharing personal and hilarious tidbits about her life. “I’ve been more real and open than ever. I even talk about my love for MiraLAX online,” she jokes to Billboard.

The platform has also boosted one of her biggest hits in the past few years: her fresh take on doo-wop, “Made You Look,” first began to spread across TikTok thanks to a dance trend started by users Brookie and Jessie that has since become inescapable. Trainor has gotten in on the fun, and to date, nearly two million user-created videos on the platform have utilized the track as a backing sound. “Made You Look” reaches a new No. 24 high on the Billboard Hot 100 dated Dec. 3, marking Trainor’s highest-charting hit since “Me Too” reached No. 13 in 2016.

Below, the pop star tells Bilboard about the details behind “Made You Look” — including how she drew inspiration from a familiar hit to create the song — how music has changed over her decade-long career and what being a mother has taught her.

How did “Made You Look” come together?

It was one of the last songs I wrote for the album. I knew I needed my self-confident banger that I always do on my albums, and I was really studying “All About That Bass.” I was like, “Why did this work so well?” I think everyone just loves to sing along to a song that’s like, “I am awesome, I am the sh-t, I am hot.” Especially after having a baby, I was already struggling to love my body. I was covered in a C-section scar crossing over all my stretch marks and I was really struggling to like myself, but also like myself in front of my own husband.

My therapist had me stand in front of the mirror naked every day and the first day, I was shaking and hated it. By the third day, I noticed things that I liked about my body and I was like, “Wow, this is so powerful.” So, I was in the shower one day and I was like, “Yeah, they could dress me in all these fancy clothes, but when I’m at my grungiest and at home, that’s when my husband is like, ‘You’re the prettiest girl in the world. You’re the hottest.’ ” I wanted to put that in a song, and I wrote the chorus in the shower.

Your C-section scar is how you gave birth to your son, though. That’s so special.

Exactly. I was at the point where I would say to my husband, “Please don’t look at it. Don’t look at my scar!” He’s like, “That’s my favorite mark there ever was. That’s where my boy came out of. That’s the most special thing in the world!” I had never thought about it like that.

How is making music different for you since having your son?

It’s more important now. I guess I’m also more mature, because I’m older and been through more, so now, I’m at an age and point in my life where I’m like, “Here’s what actually matters and here’s what doesn’t. I’m not going to stress anymore.” I really had to work with my therapist on what I can and can’t control. These stretch marks are here, [I have to] get used to them and learn to love them because I can’t control whether they go away or not. In my songwriting, I try to put in that “let it go” vibe.

What was your reaction when “Made You Look” started blowing up on TikTok?

I was so surprised, because it’s so hard to get a song to be successful on TikTok. You don’t want to be out there every day like, “Check out my new song!” I like being vulnerable on that app, and I feel weird being on there just to promote my music. This song was important to me, though, and I knew it would help people with their confidence.

When I saw the dance from the TikTokers Brookie and Jessie, [it] was so fun and they made it look so cool. It was hard to learn, but now that I know it, I do it literally every day. I love the dance so much. It blew up and popped off, but now I see people doing other stuff to the song. I saw a girl who was learning how to be a chef, someone practicing how to cut a vagina while giving birth and a horse giving birth to my song. That’s the coolest part of TikTok. The whole world is on there.

What are some of the biggest differences you see in music trends and on the Hot 100 over the course of your career?

Obviously, TikTok rules the world. For the last album, I was like, “I’ll do every piece of promo you want me to do. If this works, I’ll do it.” But it didn’t work. So, for this album, I made a priority to do “TikTok days” and make content. This app allows for a whole day of fun work for us, and it doesn’t feel like work. I get to be at home and make videos that go viral, and it still helps my music and connect with strangers all over the world. I went live on TikTok this morning and people from Ethiopia were in there. People are like, “Hi from South Dakota! Hi from South Africa!” And I’m like, “Oh my God!” It’s just the best app to connect with everyone globally.

I’ve been more real and open than ever. I even talk about my love for MiraLAX online. The best part of that is that it seems to be what everyone likes. They like me being myself. That’s easy to do for me, rather than [being] like, “Oh, I’m a celebrity that no one can touch, and I wear Gucci and Prada. Don’t talk to me.” It’s easier and more fun this way. Finally, for the first time in a long time, I really, really love my job again. I love promoting music again.

It also feels like you found a renewed love for music on Takin’ It Back.

Yeah! My last album I was chasing radio so hard and was going more pop because I was trying to run away from the doo-wop stuff. I was like, “No, I can do all the genres! I love pop! I love dance!” Then, I was like, “Alright, let’s do the doo-wop. Let’s give the people what they want.” I realized, then, my love for it. I wrote the verses of “Made You Look” over lunch while laughing. We were like, “Oh, it should be, ‘Call up your chiropractor just in case your neck breaks from looking at me.’ ” We were having a ball.

One thing that definitely hasn’t changed through your albums are your messages of empowerment.

I’m trying to do that for everyone out there. The best reward is [that] I’ve been getting letters from fans that start with, “Your music helped me so much growing up.” That’s better than any compliment ever.

What are you excited for with the holidays coming up? You’re a big Christmas fan and even have a holiday album.

Yes, my decorations are already up and I put up the tree. I’m also trying to get pregnant. I’m trying to have four kids and get them out. I don’t know if we’ll tour next year, because touring is so exhausting and brutal still.

Especially if you do get pregnant.

I mean, I don’t know if I’m as cool as Cardi B. The icon that’s like, “Sure I can tour and perform and do SNL pregnant.” I don’t know if I’m as strong as her. I remember being pregnant and being like, “I really should lay down.” I was pooped, so I don’t know if I want to sign up for a tour and then get pregnant while doing that. It’s a big debate, but if something happens and I can open for someone or do a short run, I would love to do something like that. I also want to put out a book about pregnancy. After giving birth, I feel like I can do anything. So, I’m just picking new goals and making new dreams.

What’s the biggest thing you learned through motherhood?

Mom guilt is [a] very similar pain to struggling with loving yourself. I’m a very hard critic on myself in everything I do. With loving myself and music and my talent, I’m my worst critic. I noticed that mom guilt is a very similar feeling. Immediately, I had the worst mom guilt because I started working right away and I was like, “Oh, he’s saying ‘dada’ first and it’s probably because he doesn’t know me!” That’s not the case at all. I had to learn, “Hey, be easy on yourself. You’re doing the best you can and that’s all that matters.” Watch out for mom guilt, and just know that I have it too and I’m working on it.

A version of this story originally appeared in the Nov. 19, 2022, issue of Billboard.

02 Dec 2022

Machine Gun Kelly and Megan Fox Team Up For Sexy Nail Polish Photoshoot

Megan Fox and Machine Gun Kelly have never shied away from a little PDA. But in their new ad campaign for the actress’ Play With Fire nail polish kit collab with her fianceé’s UN/DN LAQR nail brand, they get entangled to celebrate some vibrant colors inspired by Megan’s favorite crystals and gemstones.

In one of the snaps, Fox’s emerald green nails grip the back of MGK’s neck as he lays his hands — in a bright blue shade — over hers. In the second pic, she stares at the side of Colson’s neck while cradling his throat with her right hand.

“I know you. I have known you so many times, in so many different forms, in so many different lives,” reads a tagline for the collection which includes six hues, including: Past Life (bright Lapus Lazuli blue), Brutal Honesty (malachite green), Twin Flame (ruby red), Deep Breath (shattered “glass” iridescent effect), Third Eye (lilac purple) and Nothing Matt(er)s (matt top coat).

“The collection is themed around some of my favorite crystals and gemstones, I love wearing jewel tones as they play well against my natural coloring,” Fox told Allure about the range of colors that also reflect the natural world and changing seasons. “Winter is a time for all types of ‘hibernation’ or turning inward; we see this with animals as well as plants during this season. This is a waning (withdrawing) time, not a waxing (growing) time.”

In an accompanying video set to MGK’s “Sid & Nancy” Fox gets her nails done as she lays in bed and the couple hit a number of red carpets while the actress strikes a series of seductive poses while showing off some of her Fire colors.

Check out the images from the campaign below.

02 Dec 2022

Britney Spears-Inspired Musical ‘Once Upon a One More Time’ Sets Broadway Run for June 2023

Britney Spears’ biggest hits are getting a fairy-tale makeover with the arrival of Once Upon a One More Time on Broadway.

Produced by Tony winners James L. Nederlander and Hunter Arnold, the musical comedy will open at the Marquis Theatre on June 23 following previews, which begin May 13. Directed and choreographed by Keone and Mari Madrid (Beyond Babel, Karate Kid), the show combines classic storybook characters — think Cinderella, Snow White, Little Mermaid and more — with hits from Spears’ extensive, award-winning music catalog.

The show is billed as being inspired by music performed and recorded by Spears, who is otherwise not known to be involved. According to a rep for the production, all of the musical compositions in the show are licensed through their publishers with the approval of the songwriters. The Hollywood Reporter has reached out to a lawyer for Spears for comment.

Described as a revisionist fairy tale, Once Upon a One More Time is a “musical adventure about claiming your own happily ever after,” according to the production. Singles like “Oops I Did It Again,” “Lucky,” “Circus” and “Toxic” serve as the soundtrack to a fairy-tale book club upended by a rogue fairy godmother, who decides to drop The Feminine Mystique into the laps of women who have known little else outside of “bird-made dresses and true love’s kiss.”

With an original story written by Jon Hartmere (Bare, The Upside), the production’s creative team includes David Leveaux (Nine, Romeo and Juliet) as a creative consultant, scenic designer Anna Fleischle (Hangmen, Everybody’s Talking About Jamie), costume and hair designer Loren Elstein (Rosencrantz and Guildenstern Are Dead), lighting designer Kenneth Posner (Wicked, Beetlejuice), sound designer Andrew Keister (KPOP, On Your Feet!) and projection designer Sven Ortel (Newsies).

The show was originally slated for a pre-Broadway run in Chicago in 2019 at the James M. Nederlander Theatre, but delayed its opening to spring 2020. In March, the pandemic shut down theaters across the country, with producers deciding to cancel the show’s Chicago engagement.

Once Upon a One More Time would make its world premiere in December 2021 at Washington D.C.’s Shakespeare Theatre Company, where it eventually extended its limited engagement from Jan. 3 to 9 due to demand.

Spears, who is not credited as part of the creative or producer team, was present for an early reading in 2019, according to The Washington Post. Ahead of the musical’s abandoned Chicago run, during which Spears was still in her now-ended 13-year conservatorship, Playbill reported that the pop icon called the production “a dream come true for me.”

“I’m so excited to have a musical with my songs — especially one that takes place in such a magical world filled with characters that I grew up on, who I love and adore,” she continued in a statement at the time.

Before the musical’s D.C. run in 2021, Hartmere said he was “given access to all of Spears’ songs,” according to an interview with the Post. “The only thing I was told was that she loves fairies,” he said of Spears. “And I was like, ‘That’s it, that’s what we’ve got to go on.’”

“I knew the songs that everybody else knew,” he added. “I didn’t know the deep cuts. She literally has a song [called] ‘Cinderella.’ I was like, ‘All right, I have to do this.’”

The news comes on the pop icon’s 41st birthday.

This story was originally published by The Hollywood Reporter.

02 Dec 2022

Music Industry Pushes Lame Duck Congress to Pass Tax-Deductible Recordings Bill

Advocates representing a wide cross-section of the music industry are again urging Congress to pass the Help Independent Tracks Succeed (HITS) Act, the long-simmering legislation that would provide an extra tax break to musicians, technicians and producers for recording sessions.

“Prior to the conclusion of the 117th Congress, the American music community calls on you to support American music creation that is still reeling from the pandemic by passing into law the bipartisan and bicameral Help Independent Tracks Succeed (HITS) Act,” reads a Nov. 15 letter sent to Congressional leadership, co-signed by 23 groups across the business.

The Recording Academy, which made the bill a major focus of its Grammys on the Hill event in April as well as its annual District Advocate Day in October, continues to lead the charge. During the latter event, held on Oct. 6, approximately 2,000 Academy members participated in lobbying for the HITS Act and other music industry priorities at nearly 200 U.S. congressional offices in Washington, D.C.

“Our hope is that we can get it done here before the 117th comes to a close because we have a lot of bipartisan support, bicameral support [in the] House and Senate,” says Recording Academy CEO Harvey Mason jr. “I really feel like this is something we should be able to get done and we’re hoping we can get done in the next few weeks.”

The HITS Act would allow musicians, technicians and producers to deduct 100% of recording expenses up to $150,000 on their taxes in the year they’re incurred. That’s a change from the current law, which requires music creators to amortize those expenses over the economic life of a sound recording, a period that usually ranges between three and four years.

The bipartisan bill was first introduced in the House on July 31, 2020 (followed by a companion bill in the Senate on Dec. 3, 2020), though it failed to pass as part of the two pandemic relief packages or as part of the $3.5 billion budget reconciliation package known as Build Back Better, which was ultimately halved and renamed the Inflation Reduction Act of 2022 before being signed into law in August. Now, with only a month to go before the changeover to a new, split Congress — Democrats will retain control of the Senate while Republicans will control the House of Representatives — advocates are hoping the bill can finally, successfully make it through the gauntlet as part of a must pass bill during the last few weeks of the year.

“[During] the lame duck period with these must pass bills, if there’s any kind of tax language in there or any kind of economic language in there that ties in with this, we’re really hopeful it will get in this time around,” says Richard James Burgess, president and CEO of the American Association of Independent Music (A2IM), which has long served as a key advocate for the legislation.

In the entertainment realm, music production is an outlier in terms of taxation; film, TV and live theater productions already enjoy a 100% first-year deduction. The HITS Act would simply apply the same standard to music, Burgess says, while also encouraging future music creation: “I think if anybody needs it, it’s musicians that need it really badly. It affects independent musicians and independent artists and independent labels probably more than anybody else because they have less bandwidth financially. The idea of getting $150,000 per project [that can be] written off against your taxes in the year that you incurred it, could really make a difference between being able to make another record next year or not.”

Burgess adds that the bill won’t just affect musicians and producers but trickle down to other parts of the industry and the greater economy. “Every artist that makes a record, that has a knock on effect to many, many other musicians and ancillary workers in the music industry,” he says. “Getting these kinds of tax benefits will make a difference across the board.”

While Burgess and Mason jr. were both relatively confident HITS could make it through the next Congress given the bill’s bipartisan support, they’ve clearly grown impatient on behalf of creators, many of whom lost income during the early stages of the pandemic. After more than two years of disappointment, Mason jr. puts it in stark terms: “Yes, it could get passed next year, but…I don’t think we should continue to have it laid off and cut out of bills. This is something that’s important for us coming out of COVID. We’ve seen this community suffer enough.”

You can read the full Nov. 15 letter below.

Dear Speaker Pelosi, Leader Schumer, Leader McCarthy, and Leader McConnell: The 117th Congress has witnessed significant bipartisan and bicameral accomplishments that have benefitted American workers, families, and consumers, and levelled the playing field so some important domestic industries can grow. Prior to the conclusion of the 117th Congress, the American music community calls on you to support American music creation that is still reeling from the pandemic by passing into law the bipartisan and bicameral Help Independent Tracks Succeed (HITS) Act (H.R. 1945/ S. 752).

The HITS Act is a low-cost and commonsense modification to existing U.S. tax law that will incentivize the production of new sound recordings by allowing qualified productions to deduct 100% of their costs upfront. With an annual deduction limit of $150,000, the bill is designed and tailored to specifically incentivize independent creators and labels to produce new music, sparking important creative investments in countless music small businesses across the country. This targeted approach makes the HITS Act a fiscally responsible investment in the American creative economy.

The HITS Act also brings much-needed parity to the tax code for all creative industries. Currently, under Sec. 181 of the Internal Revenue Code, qualified film, television, and live theatrical productions may elect to fully deduct new production costs in the year they are incurred. Music production, which occurs in every state and congressional district, deserves the same treatment. Instead of being able to fully deduct production expenses in the year they occur, independent recording artists must currently amortize production expenses for tax purposes over the full economic life of a sound recording. For small creators, this timing difference slows down their reinvestment in new projects that can fuel growth. The HITS Act harmonizes the tax code and ensures that all the major creative industries are treated similarly.

As you consider end-of-year legislation, the music community strongly urges you to pass the HITS Act. It represents exactly the type of bipartisan, bicameral, and non-controversial economic investment that Congress should be proud to support. Passage of H.R. 1945/S. 752 is a smart and simple step that will make a lasting difference for countless independent music creators and music small businesses.

On behalf of the hundreds of thousands of music makers and music businesses across the country, thank you for your consideration.

Signed,

American Association of Independent Music

Artists Rights Alliance

ASCAP

Black Music Action Coalition

Broadcast Music Inc.

Christian Music Trade Association

Digital Media Association

Future of Music

Global Music Rights

Gospel Music Association

Music Artists Coalition

Nashville Songwriters Association International

National Independent Talent Organization

National Independent Venue Association

National Music Publishers Association

Recording Academy

Recording Industry Association of America

SAG-AFTRA

SESAC

The Society of Composers and Lyricists

Songwriters Guild of America

Songwriters of North America

SoundExchange

CC Chairman Ron Wyden, Senate Finance Committee

       Ranking Member Mike Crapo, Senate Finance Committee

       Chairman Richard Neal, House Ways and Means Committee

       Ranking Member Kevin Brady, House Ways and Means Committee

02 Dec 2022

SZA Is Worried About Bowen Yang in ‘SNL’ Promo Where He Calls Her ‘Scissors’

Bowen Yang just can’t get it straight in this week’s Saturday Night Live promo featuring SZA and host Keke Palmer. “Hi, I’m Keke Palmer and I’m hosting Saturday Night Live this week with musical guest SZA,” Nope star Palmer says in the first video bit.

“And I’m Brown Yang and we’re gonna have such a… did i just say ‘Brown Yang?’,” an embarrassed Yang asks this week’s guests as they laugh nervously. “I can’t even read my own name. Sorry Guys! I am Bowen Young and we’re gonna… oh my God. Brown Yung! What’s happening right now?,” a melting down Yang stammers.

“Are you okay Bowen?,” a concerned Palmer asks. He assures her he’s totally fine and repeats his first name as evidence, before inexplicably calling himself “Cohen Yang” and then insisting that he’s Bravo star Andy Cohen and then, once again Brown Yung. “I’m worried about you Bowen,” SZA says before he refers to her as “Scissors” and says he’s going to take a long nap before tomorrow night’s (Dec. 3) show.

In a second promo, a recovered Yang promises that the episode is going to be epic, clapping out every syllable, a tactic Palmer then employs to ask where the bathroom is. In an earlier video, Palmer revealed that she’s an “octuple threat,” busting out her singing, acting and dancing chops before adding that she’s also a beekeeper, painter, magician and fitted sheet folder; she’s also admittedly bad at math.

The clip dropped a day after SZA shared the cover art for her upcoming S.O.S. album, which does not yet have an official release date. Donning a football jersey with S.O.S stitched on the sleeve, SZA sits on the edge of a diving board planted over a large body of water in the image.

Earlier this month, SZA released her newest single, “Shirt,” which debuted at No. 11 on the Billboard Hot 100. Along with doling out another high-charting single, SZA recently covered Billboard’s R&B/Hip-Hop Power Players issue. In the cover story, she questioned her longevity in music and where she sees her career going forward.

Watch this week’s SNL promo below.

02 Dec 2022

Triller Removes Music From Universal, Sony, Warner and Merlin

Try using some of your favorite songs on the short-form video app Triller, and you’ll be hard pressed to find what you’re looking for.

On Thursday, the music catalogs for Universal Music Group, Warner Music Group, Sony Music and Merlin — which provides digital licensing to many top independent labels and distributors — were removed from the platform.

A Triller spokesperson says the platform is “reassessing each of our label deals as they come due as our catalogue music usage is a small fraction of our overall business with creators.

“Some labels are more used than others and if we can make financial arrangements which make sense for the platform, on a label by label basis, we will. In other cases the usage does not justify the cost.”

The news follows a lawsuit filed by Sony Music Entertainment in August, claiming Triller had “historically failed to make payments in a timely manner” but that this issue got even worse in March 2022 when Triller “failed to make any monthly payments required under the Agreement, totaling millions of dollars.”

A source at one of the other major music companies says similar breach of contract and failure to make payments, including “millions and millions in past due royalties,” was behind Triller’s decision to pull these catalogs. The Triller spokesperson, however, called that claim “false and grossly inaccurate.”

Representatives for Universal, Warner, Sony and Merlin declined to comment.

In a Thursday morning email, Merlin’s senior director of business and legal affairs alerted members that Triller had “commenced the takedown of Merlin content.” He continued, writing “at this stage we do not believe that Merlin is the only licensor/content provider to have had content taken down. The term of our current agreement with Triller has now expired. We will update members as soon as we can regarding renewal discussions.”

Merlin members include Secretly Group, Mom + Pop, Monstercat, Symphonic, Ninja Tune, Beggars Group, FUGA, ONErpm, Domino, SubPop, Vydia and more. The Triller spokesperson told Billboard when asked about the Merlin email, “We are in active conversations with Merlin and expect to renew our relationship and continue our friendly and successful partnership.”

“As Triller has grown and expanded its portfolio of services for creators as an open-garden platform, we are recalibrating some of our partnerships with a focus towards showcasing talent and maximizing their monetization,” that statement continued.

A glance at Triller’s Discover Music page shows that there are now few official music options available after the takedowns, and the promoted new releases and top picks are largely artists with no label affiliation. The only traces left of some label-signed artists are available through searching “OG Sounds,” which are typically user-created soundtracks like remixes that sometimes contain copyrighted material, or if a signed artist collaborated as a feature on a song released independently.

The public rift between Triller and the music business dates back to about 2020, when chairman and CEO of the National Music Publishers’ Association (NMPA) David Israelite criticized the app in an Instagram post, saying Triller needed to fully license its members works. “It’s a simple proposition – license songs before you use them,” he wrote.

In November of that year, Wixen Music Publishing filed a 15-page lawsuit against Triller, suing the company for $50 million dollars, stating in the complaint that Wixen felt encouraged when Triller’s CEO appeared to agree with the NMPA’s criticism that summer, but then, after months with no agreement reached, Wixen opted to file the lawsuit.

In the indictment, Wixen alleged Triller had “brazenly disregarded copyright law and committed willful and ongoing copyright infringement,” of its more than 1,000 song catalog. The lawsuit was dismissed in February 2021.

Eventually, in March 2021, Triller came to an agreement with the NMPA on behalf of its members.

Also in early 2021, Universal Music abruptly pulled its catalog from Triller, saying the app “shamefully withheld” artist payments. A source familiar with the matter told Billboard at the time that the payments UMG claims Triller is withholding went back several months. Three months later, the two companies announced a new, worldwide licensing agreement, spanning recorded music and publishing and restoring the UMG catalog to the app.

This August, Timbaland and Swizz Beatz also sued Triller for failing to make payments due on the sale of their popular Verzuz livestream series the year prior. They claimed the platform still owed them $28 million from the deal 18 months later. That lawsuit was settled in September.

Outside of music, there have been other claims against Triller for allegedly failing to make owed payments. Boxing journalist Dan Rafael reported that Triller had not fully paid several fighters and crew members from a May 2022 fight. In August, the Washington Post reported that Triller “promised millions to Black creators” to use the app as part of a paid influencer program, but “nearly a year after…its payments to many creators have been erratic — and in some cases, nonexistent.” In September, it was also sued by a smartphone app consulting firm that said it was owed more than $132,000 in unpaid fees.

Over the past two years, Triller has repeatedly announced plans to go public but has so far failed to do so — initially through the formerly-popular ‘SPAC’ merger process, and then in June this year filed paperwork with the U.S. Securities and Exchange Commission indicating that it plans to take a more traditional IPO route. In late September, the company announced it had secured $310 million from Luxembourg-based private alternative investment group for a 36-month term following a public listing of Triller’s common stock and would aim for a public listing by early in the fourth fiscal quarter (October-December).

02 Dec 2022

Toby Keith Gives Promising Update After Stomach Cancer Battle: ‘We’ll Look at Something Good in the Future’

Toby Keith is opening up about his battle with stomach cancer in a new interview with the CMT Hot 20 Countdown. The 61-year-old country legend revealed earlier this summer that he was taking a break from music to undergo chemotherapy, radiation and surgery after getting a stomach cancer diagnosis in the fall of 2021.

“I’m thinkin’ about getting back in fighting shape,” Keith said in a preview of the interview posted earlier this week. “I need a little bit of time to rest up, heal up… it’s pretty debilitating to have to go through all that. But as long as everything stays hunky dory then we’ll look at something good in the future. The full interview will air on Saturday (Dec. 3) at 9 a.m. ET.

“Last fall I was diagnosed with stomach cancer,” Keith tweeted in June. “I’ve spent the last 6 months receiving chemo, radiation and surgery. So far, so good. I need time to breathe, recover and relax. I am looking forward to spending time with my family. But I will see the fans sooner than later. I can’t wait.”

Keith cancelled some dates as a result of the diagnosis, then made a surprise appearance at Jeff Ruby’s Steakhouse in Lexington, Kentucky in early November, where owner Ruby said he performed songs including his 2003 hit “I Love This Bar”; it was Keith first performance since revealing his cancer diagnosis.

Ruby also shared a photo of himself with Keith, saying, “Grateful for my good friend Toby Keith! Rocking our Lexington stage after a year of kicking cancer’s a–!”

Watch an excerpt from Keith’s interview below.

02 Dec 2022

Watch BTS‘ RM Recreate NPR ’Tiny Desk’ Studio For Intimate 3-Song Set

Dedicated ARMY veterans will likely be dissecting the set of RM’s NPR Tiny Desk concert for the rest of the month. To celebrate the release of his solo album, Indigo, the BTS rapper born Kim Nam-joon recreated an amazingly detailed replica of the Washington, D.C.-based Tiny Desk office set in South Korea, complete with shelves packed with tasty Easter eggs.

But the focus, of course, was on the vocals, which the 29-year-old star delivered on with ease, beginning with the jazzy opening track of his three-song set, “seoul.” The chilled-out bilingual song from RM’s 2018 mono mixtape set a mellow mood for the 18-minute mini-show, complete with warm keyboards and restrained beats from drummer JK Kim.

After the opening track, RM said it was about his second home town in South Korea, before introducing his band and noting that the album version of the opening track from Indigo, “Yun,” features R&B legend Erykah Badu, who, unfortunately, could not make it to Seoul for the session. RM also explained that it was inspired by Korean painter Yun Hyong-keun, who, “was always saying that you should firstly be a human before you do some art or do something, so this song is inspired by his lifelong message,” he said, adding that one of the artist’s images is on the Indigo cover.

While the band played the slow-rolling soul rap tune, Badu’s recorded vocals floated above the chorus as RM dropped his mashed-up English/Korean bars over the loungey arrangement. “F–k the trendsetter/ I’mma turn back the time/ Back the time, far to when I was nine,” he rapped before seamlessly slipping into Korean for the rest of the first verse.

RM said that though he’s been doing music for 15 years — 10 of them with BTS — Indigo is his first official full-length solo album. “I went all the way just to release these 10 tracks and 10 colors out of my soul and out of my ego,” he said of the album that dropped on Friday (Dec. 2) in the midst of BTS’ open-ended group hiatus.

“This time I finally could show the world what’s really inside me and what I wanted to do,” he added of the collection he’s been working on since 2019 with the band, which also featured Jaeshin Park on bass and DOCSKIM on keyboards.

For the final track, RM slid into Indigo‘s funky second track, “Still Life,” which he said was inspired by a visit to a “random” museum where he saw lots of paintings from the 19th century with that title, giving him the idea to write a song about his life being like a canvas on which he exhibits himself to the whole world. The soul clap tune was the perfect excuse to bust out some of BTS’ signature coordinated dance moves, but given the setting, RM had to make do with dropping his emphatic verses from an office chair as the band swirled up some sinuous grooves behind him.

Watch RM’s Tiny Desk concert below.