Podcasts
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Sarah Barthel of Phantogram is glad the band got its start before short-form video apps became the de facto route to break new music. “It’s really hard for me to understand TikTok,” she tells Billboard’s Behind the Setlist podcast ahead of a headlining tour supporting the album Memory of a Day that runs through Feb. […]
We’re now over a month in 2025, and it’s been an absolutely packed beginning to the year in pop stardom. We’ve already gotten plenty big album drops, tour announcements, breakout hits and viral moments — and then of course, in the last week alone, we’ve gotten two major star-studded events in the FireAid benefit concert […]
While there were plenty of headlines from the 2025 Grammy Awards — Beyoncé finally wins album of the year! Chappell Roan wins best new artist! Kendrick Lamar wins record and song of the year for a Drake diss track! — there was also plenty of news that emerged around the show. Before Sunday night’s show, […]
The National Music Publishers’ Association (NMPA) announced on Tuesday (Feb. 4) that it would issue takedown notices to Spotify for 2,500 podcast episodes on the platform that allegedly contain “unlicensed musical works” from 19 NMPA member publishers.
“Spotify has thousands of unlicensed songs in its podcasts, which it has done nothing to remedy. This takedown action comes as no surprise, we have warned of this issue for some time,” says NMPA president and CEO David Israelite of the takedown notices. According to the NMPA, this is just the start of the takedown requests, and the demands will continue to roll out.
This is the latest of many retaliatory actions the NMPA has taken against Spotify since last March, when Spotify significantly cut payments to NMPA’s members for premium subscriptions. By adding audiobooks into its premium subscription tiers, Spotify argued it qualified for a discounted royalty rate, known as “bundle,” given it would now have to pay for books and music from the same price tag that was once just for music. Israelite said at the time that he would “declare war” on Spotify for this move, and launched a number of actions to fight back.
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This included sending cease and desist notices for podcast and video content on its platform that were allegedly infringing on music IP; a legislative proposal, asking for the overhaul of the statutory license; complaints to the FTC and nine state attorneys general; and more. Around the same time, the Mechanical Licensing Collective (MLC) also fought back by filing a lawsuit against Spotify for the move to bundle premium subscriptions, calling it “unlawful.”
On Sunday, Jan. 26, the Spotify bundling issue was brought back into the headlines when Universal Music Group announced a new direct deal with Spotify which included changes both to the recorded music and publishing royalty rates. This marked the first direct deal between Spotify and a publisher since the passage of the Music Modernization Act (MMA), and sources close to the deal say that the agreement included improved remuneration for UMG’s publishing company, Universal Music Publishing Group, and its songwriters.
Still, all other publishers, most of which are members of the NMPA, remain on the baseline bundle rate. The NMPA told Billboard at the time that the deal was “good news for the entire industry” and that “a rising tide lifts all boats, and this signals that Spotify is coming back to the table,” but the organization also added it had no plans to stop any of the actions it had already set in motion against Spotify, and neither did the MLC.
A few days later, on Jan. 29, the MLC’s lawsuit against Spotify was dismissed, with a federal judge saying that Spotify’s move to bundling was supported by “unambiguous” regulations. The judge is not giving the MLC a chance to refile and said the law is clear. Still, if the MLC wants to, it can challenge the ruling at the federal appeals court.
These takedown requests make it clear that the NMPA is not ready to bury the hatchet with Spotify. Among the 2,500 takedown requests are podcasts that allegedly contain unlicensed musical works from publishers like ABKCO, Anthem Entertainment, Big Machine Music, BMG, Concord Music Publishing, Downtown Music Publishing, Hipgnosis Songs Group, Kobalt, Mayimba Music, peermusic, Primary Wave Music, Reservoir, The Royalty Network, Inc., Sony Music Publishing, Spirit Music Group, Ultra Music Publishing, Universal Music Publishing Group, Warner Chappell Music, and Wixen Music Publishing.
Israelite adds: “Podcasts are a growing source of revenue for songwriters and publishers, and it is essential that podcasts provide lawfully produced entertainment. This is not hard to do, and Spotify knows, and has known, how to fix this problem for their users. We hope podcast hosts will stand up for their fellow creators and demand that Spotify do better. Spotify will stop at nothing to undervalue songwriters on behalf of its bottom line. Look no further than its recent bundling scheme and its ill-conceived appeal of songwriters’ rate increase in CRB III. We will not stop until the platform fixes its podcast problem, and all other areas where songwriters are not earning what they deserve.”
On February 8, 2015, nearly everyone in attendance at the Staples Center in Los Angeles expected the top prize at the 57th Annual Grammy Awards to go to Beyoncé. The pop and R&B superstar had changed the game 14 months earlier with the surprise drop of her self-titled album, topping the Billboard 200, drawing unanimous raves and dominating the culture for the entire year to follow. But when it came time for Prince to announce the winner for album of the year that night, a different solo “B” name was called – confusing many in the crowd and watching at home, infuriating one easily excited fellow superstar, and setting into motion many of the narratives that continue to define the Grammys a decade later.
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This week, on the Greatest Pop Stars podcast, we debut our Great Moments in Pop History series, looking at some of the pivotal moments throughout the decades that have come to define our perception of pop music, pop culture and pop stardom. On the precipice of the upcoming Grammys – airing this Sunday (Feb. 2), with one of the most loaded nominee classes in recent memory – we flash back to 10 years earlier, when one of 2025’s preeminent nominees (and the biggest overall winner in Grammy history) lost an album of the year race she was the heavy favorite to win, with Beck’s acclaimed-but-less-impactful Morning Phase instead taking home top honors. It’s a snub the Recording Academy still has not yet made good on, with Beyoncé being nominated and losing in the category twice in the years since.
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Host Andrew Unterberger is joined by Billboard executive digital director (and Pop Shop Podcast co-host) Katie Atkinson – who was in the building that memorable night – to recall everything there is to recall about the 2015 Grammys. We start with everything else of note that happened during those Grammys – like Sam Smith’s early-career-peak night of dominance, the cavalcade of pop megastars performing (but somehow playing zero of their signature hits) and an A-plus-list trio of legends united for one time only. We also run through some of our favorite less-starry performances of the night, including Hozier with a towering Annie Lennox, and Sia with both a wig and Kristen Wiig.
And then, we dig into the nitty gritty of Beck beating Beyoncé – and Kanye nearly crashing the stage in protest – and the impact it all ended up having on the Grammys’ next decade. We remember the double-shock of Beck’s longshot victory combined with Kanye’s oh-no-not-again fakeout, and give context for how bizarre it was (and remains) that Beck, of all people, became the face of Grammy-approved establishment rock. Then, of course, we set our sights on the 2025 awards – where Beyoncé is once again an album of the year nominee, for 2024’s Cowboy Carter – and ask: Is it finally time for the Queen to take home the crown? (And if she finally does this year, will it actually be… kinda weird?)
Check it out above — along with a YouTube playlist of some of the most memorable moments from the 2015 awards — and subscribe to the Greatest Pop Stars podcast on Apple Music or Spotify (or wherever you get your podcasts) for weekly discussions every Thursday about all things related to pop stardom!
As we near the 2025 Grammy Awards this Sunday, predicting what will happen in the Big Four categories — album, record and song of the year, along with best new artist — feels more challenging than ever. Could Chappell Roan sweep the Big Four? Or could it be Beyoncé’s time to notch her first win […]
After more than a yearlong hiatus, season four of the Rock & Roll High School With Pete Ganbarg podcast launches Thursday (Jan. 23) with an interview with Chaka Khan.
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This season’s other guests include Tony Orlando, Squeeze’s Chris Difford, Randy Bachman, Al Stewart, Tears for Fears’ Curt Smith, Lovin’ Spoonful’s John Sebastian and America’s Gerry Beckley. New episodes will debut every other Thursday and are available on all major streaming outlets and the podcast’s website.
Pete Ganbarg started Rock & Roll High School, named after the beloved Ramones’ punk classic, several years ago as president of A&R at Atlantic Records when he realized that a number of the younger A&R staffers at Atlantic were unaware of the roots of popular music. At first it was an in-person lecture series, and he then began bringing in guests, including Vanilla Fudge drummer Carmine Appice and iconic record executives such as Clive Davis and Seymour Stein.
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When the pandemic hit and everything shut down, at the request of Warner Music Group, Ganbarg went virtual with the series and expanded attendance to anyone working at the company. Then in April 2021, the series launched as a full-fledged podcast available on all streaming platforms.
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Two-time Grammy winner Ganbarg left Atlantic last fall and now has 100% ownership of the podcast.
“We started this podcast a few years ago with the goal of having the history of contemporary music told first-hand — in their own words — by the people who helped create it,” Ganbarg said in a statement. “This new season is our biggest yet with close to 20 new episodes already recorded. We’re honored to be joined by an incredible, diverse array of singers, writers and producers — all of whom have helped to build the foundation of so many songs that have been the soundtrack of our lives and all of whom have fantastic stories to tell.”
Ganbarg patterned the podcast after James Lipton’s Inside the Actor’s Studio and Off the Record, a series of interviews the late Capitol Records president Joe Smith conducted with many music luminaries to create an oral history of popular music. Guests can come from any facet to the music world but must have played a role in creating music from 1955 on.
In addition to the podcast, Ganbarg, whose 35-year tenure in the music industry includes working with such artists as Santana, Twenty One Pilots, Lin-Manuel Miranda, Donna Summer and dozens more, is president of Pure Tone Music, whose signings include Forest Blakk and Joe Jordan. He also runs operates Songs With A Pure Tone and Margetts Road Music, joint ventures with Warner Chappell Music. He is nominated for two Grammys this year for his work on the cast albums for Suffs and The Notebook.
Since the fall of 2023, the Las Vegas Sphere has hosted U2, Phish, Dead & Company, Anyma and a current residency from the Eagles. And last week, Kenny Chesney was announced as the arena’s first country headliner. The announcement has the Billboard Pop Shop Podcast asking: When will we see a pop star at the […]
Skillet’s John Cooper has a good sense of humor about some of the hard lessons he’s learned about the music business in nearly three decades as a musician. The outspoken, gregarious singer, fresh off the release of a new album (Revolution) and a European tour, laughs heartily when asked what lessons he wish he learned early his career.
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“I would go back to my younger self and say, ‘They call it the music business for a reason,” he tells Billboard’s Behind the Setlist podcast. “That part — ‘business’ — actually matters. Because when you first start — I mean, I don’t know if everybody’s like this, but I certainly was like, ‘No, no, it’s not a business, it’s art. It’s no business involved. It’s just what I want to sing about. It’s all about me and my feelings and my artwork, and I’m never gonna let anybody bastardize my art.’ And you just end up making a bunch of dumb decisions because you don’t realize that, yes, it is about art, but you still got to pay bills. And you’re in the van in the middle of the night — if anybody’s in a band out there, they’re going to know what I’m talking about — you’re driving the van, and all of a sudden you feel something. You look out the side as you’re driving and you see one of the wheels from the trailer going past you [and] it flies off in the middle of the night. And I’m sitting there going, ‘I don’t care. It’s all about my art.’ That’s not real! You’ve got to pay for that, man!”
It took Cooper a few years to realize he needed to be more hands-on and not expect others to handle his business the way he wants. “If you want it done right, you have to get involved,” he insists. “That’s not to say [my manager and business manager] didn’t do their job, but they’re never going to do it the way you want it done. And it’s easy to complain about it, but just get your hands dirty.”
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The need to be more involved in the business side of his career “really hit home” early in Cooper’s career when the person preparing his taxes asked to see his taxes for the band’s first four years. “And I said, ‘Well, we lost money for the first four years, so I didn’t turn them in,’” Cooper recalls. “He’s like, ‘Well, you’re gonna pay for that now. You’ve gotta pay a fee for not doing it right.’ And so I would go back and just say [to my younger self], ‘Hey, yes, it’s about the art, but you can’t be a moron. You’ve got to grow up.’”
Over time, Cooper has learned the business side of music from a variety of people, including a manager that arrived six years into his career and his business manager. He also took inspiration from Mötley Crüe bass player Nikki Sixx, who Cooper says “understood it’s about art, but you got to take care of your business. You want to be around for 30 years? You better get it in gear, son!”
The lessons Cooper learned will help now that Skillet is independent and self-releasing its music. After nearly two decades with Atlantic Records — 99% of which was positive, Cooper says — the band released Revolution on its own Hear It Loud imprint. While Atlantic Records helped Skillet find mainstream success (“Awake and Alive” reached No. 1 on the Billboard Active Rock chart in 2011) there was more bureaucracy than Cooper would have preferred. “A lot of red tape,” he says. “A lot of people having to approve the songs.” Now, Skillet now has greater creative control and can release music more frequently.
“We wrote 11 songs for this record, and I loved it,” he says. “I loved making the project. It was so much fun. We wrote, recorded and released this album in 13 months. And I’ll tell you what, it was so fun, and I love the music.”
Listen to the entire interview with Skillet’s John Cooper using the embedded Spotify player below, or go to Spotify, Apple Podcasts, iHeart, Amazon Music, Podbean or Everand.
As wildfires continue to threaten Los Angeles and surrounding areas, organizers behind awards shows and related events are figuring out how to pivot to best support the community. Should they move forward and become fundraisers for relief efforts? Or is it best to cancel or postpone to a later date? Explore Explore See latest videos, […]