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Country singer Jameson Rodgers allegedly hurled a “full, unopened beer can” into a concert crowd and hit a fan during a 2022 festival on the Jersey Shore – and an appeals court now says Sony Music must continue to face the resulting lawsuit filed by the injured woman.
Samantha Haws sued Rodgers, Sony and others, claiming the incident at the 2022 Barefoot Country Music Festival in Wildwood, NJ, had left her with “severe and permanent injuries.” She even sued MillerCoors because it was a can of Miller Lite that Rodgers allegedly threw.
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Sony wants to be dismissed from the case, arguing that it cannot be sued in New Jersey because it isn’t based in the state and didn’t operate the festival. But a lower judge denied that request last year – and a New Jersey appeals court upheld that ruling on Wednesday.
In recent years, there’s been a disturbing trend of objects being thrown at concert performers. NBA YoungBoy stopped a show earlier this month after fans threw objects, Luke Combs was hit in the face during a July concert, and Bebe Rexha needed stitches after being hit with a smartphone, leading to criminal charges against the offender.
But there’s also been multiple incidents involving objects thrown by the artists, often resulting in legal action. 50 Cent was sued last year over an incident in which he threw a microphone off-stage in frustration, allegedly hitting a stagehand. Cardi B hurled a mic at a fan who threw a drink at her at a 2023 Las Vegas concert, resulting in another lawsuit.
In her July 2024 case, Haws claims that Rodgers and/or others “threw full, unopened cans of Miller Lite beer from the stage into the crowded audience” at the Barefoot Festival. She says one struck her “violently and without warning in the head and facial area,” leaving her with “severe, painful and permanent bodily injuries.”
Sony, named as a defendant in the case because Rodgers is signed to Columbia Nashville, immediately moved to exit the case. The company argued that it didn’t organize or market the festival or pay for or provide security for it. But a judge said last year that Rodgers had potentially performed at the festival as Sony’s agent, which could legally put the company on the hook for his actions.
In Wednesday’s decision, the New Jersey appeals court rejected Sony’s appeal of that ruling. It said there was “no error” by the lower judge because Haws had established a “business relationship between Sony and Rodgers related to live performances” and the label “would be subject to specific jurisdiction if Rodgers was acting on Sony’s behalf at the time Haws was injured.”
The ruling does not mean Sony is liable to Haws, or that her allegations will ultimately be proven. Instead, it merely sets the stage for more litigation over whether Sony was sufficiently involved to face the lawsuit. Reps for Sony, and both reps and an attorney for Rodgers did not immediately return requests for comment on Thursday.
Sony Music CEO/chairman Rob Stringer spoke to investors on Friday (June 13) about his vision for how generative AI can be integrated into his business, stating that the company is “going to do deals for new music AI products this year with those that want to construct the future with us the right way.”
To date, Stringer says the major music company has “actively engaged with more than 800 companies on ethical product creation, content protection and detection, enhancing metadata and audio tuning and translation amongst many other shared strategies.” He went on to say that he believes “AI will be a powerful tool in creating exciting new music that will be innovative and futuristic. There is no doubt about this,” but later added: “So far, there is too little collaboration, with the exception of a handful of more ethically minded players.”
Stringer’s statements about the emerging tech, which he made at Sony Group’s 2025 Business Segment Presentation, arrived just a week after news broke that Sony — and its competitors Universal Music Group and Warner Music Group — were engaged in talks with generative AI music companies Suno and Udio about creating a music license for their models. Suno and Udio are currently using copyrighted material, including music from the three majors, to train their models without a license. This spurred the trio to file blockbuster lawsuits against Suno and Udio in June 2024, in which they alleged copyright infringement on an “almost unimaginable scale.”
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In his remarks on Friday, Stringer likened the current AI revolution to “the shift from ownership to streaming” just over a decade ago. “We will share all revenues with our artists and songwriters, whether from training or related to outputs, so they are appropriately compensated from day one of this new frontier,” he said.
“I do think that what AI is based on, which is learning models and training models based on existing content, means that those people who have paved the way for this technology do have to be fairly treated in terms of how they get recompense for that usage in the training model,” Stringer continued. “We have been pretty clear on this since day one that there is absolutely no backwards view as to what this technology will do. There will be artists, probably there will be young people sitting in bedrooms today, who will end up making the music of tomorrow through AI. But if they use existing content to blend something into something magical, then those original creators have to be fairly compensated. And I think that’s where we are at the moment.”
There are challenges ahead to figure out proper remuneration for musical artists from generative AI, as Billboard recently described in an analysis of the Suno and Udio licensing talks. While the AI license could borrow the streaming licensing model by having AI firms obtain blanket licenses for a company’s full musical catalog in exchange for payment, it remains to be seen how the payments would be divided up from there. On streaming services, it’s simple to determine how often any given song is consumed and to route money to songs based on their popularity. But for generative AI, the calculation would be far more complicated. To date, Suno and Udio do not offer guidance as to which tracks were used in the making of an output, and experts are divided on whether or not the technology needed to figure that out is ready yet.
Also on Friday, Stringer expressed a desire to come to agreements with AI companies in a free market, stating: “With deals being carried out, it will be clear to governments that a functioning marketplace does exist, so there is no need for them to listen to the lobbying from the tech companies so heavily.”
Today, many AI companies don’t believe they need to license music or other copyrights at all, citing a “fair use” defense. But in his statements, Stringer was optimistic that this would change, citing the recent position of the U.S. Copyright Office, which said that “making commercial use of vast troves of copyrighted works, especially where this is accomplished through illegal access, goes beyond established fair use boundaries.” One day after publishing this position about the value of copyrights in the AI age, however, the Register of Copyrights, Shira Perlmutter, was fired by President Donald Trump. (Perlmutter sued soon after, calling Trump’s move “unlawful and ineffective.”)
“We are between us and the AI tech platforms trying to find common ground,” Stringer continued. “And that common ground is not going to take a minute. It’s going to take a moment, and then it’s going to take the trial and error process, and we are in that era right now.”
Sony Music Group’s revenues are growing faster than the industry average, and it is the only major to grow its market share, CEO and chairman Rob Stringer said during an investor presentation on Friday.
For nine straight years, the major music company and subsidiary of the Japanese film, gaming and media conglomerate Sony, said it has achieved record-setting revenue, growing at an average compound annual growth rate (CAGR) of 14.7% over the past four years compared to the industry’s 11.3% CAGR, while streaming revenue grew at a 15.1% CAGR. And according to MIDiA Research, Stringer said Sony was alone among the three majors to increase its market share from 2020 to 2024, due to it’s “higher independent market share than any other label or distributor” as a result of owning the indie distributor The Orchard.
In the wide-ranging investor presentation, Stringer said Sony is benefitting from the commercial success of albums by superstar artists, including Beyonce, Bad Bunny, Chappell Roan, Tyler the Creator and Charli XCX, and the more than 60 acquisitions and investments worth over $2.5 billion dollars that it has entered into over the past year alone across global frontline, catalog, creative and service businesses.
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Stringer said Sony Music’s dominance of the independent market stems from The Orchard, Sony’s independent distribution organization, which has more than 26,000 label partners; AWAL which works with 20,000 artists, and the Alamo Records umbrella group, which includes Foundation distribution and Santa Anna’s incubator, and now works with nearly 3,000 artists.
“In an environment where nearly half the marketplace is made up of the independent music sector, sales flowing through our independent distribution businesses more than doubled the last four years,” Stringer said in a pre-recorded video presenation. Addressing the skepticism of some investors around Sony Music’s $1.27 billion acquisition of Queen’s recorded music, publishing and name, image and likeness rights — the highest amount ever paid for an artist’s catalog — Stringer said, “these acquisitions… are in no way based on random financial speculative tactics.”
Investments like these are made back by exploiting listeners’ growing demand for older catalog music, Stringer through merchandise sales, sync placements in films and synergies with the gaming industry.
“We see more of our catalog in the charts as every year passes,” Stringer said. “In 2020, 24 percent of the Top 200 tracks were catalog songs. In 2024, that percentage grew to about 50 percent. This trend is extremely beneficial to Sony Music given our rich, deep working content.”
Since Sony’s investment in merch company Ceremony of Roses in 2022, the company has grown revenue by seven times, and its neighboring rights division collected more than $65 million for its artists last year.
Stringer reiterated calls for price increases and new tiers across the digital streaming platforms, and called for flexible pricing structures in high growth and developing markets.
Stringer said Sony Music has worked with 800 technology companies “on ethical product creation, content protection, detection, enhancing metadata and audio tuning and translation,” and that they are going to do “deals for new music AI products this year with those that want to construct the future with us the right way,” creating and adhereing to a clear remuneration system.
“New subscription ideas with fair revenue sharing arrangements will be further additive … [and] will start to slowly and rapidly scale,” Stringer said. “We will share all revenues with our artists and songwriters whether from training or related to outputs, so they are appropriately compensated from day one of this new frontier.”
Stringer said he hopes the industry’s proof of concept will give government regulators the evidence they need to pass laws reinforcing that system.
Sony claims in a new lawsuit that streaming platform LiveOne and its subsidiary Slacker Radio owe $2.6 million in unpaid licensing fees yet are refusing to stop playing the label’s music, including tracks by Beyoncé, Miley Cyrus and Tate McRae.
The allegations come in a federal lawsuit Sony filed Friday (June 6) against LiveOne and Slacker, which LiveOne acquired in 2017 and has since folded into the LiveOne streaming app.
Sony and Slacker have been doing business with each other since 2007 through a content distribution deal, according to the lawsuit. But Sony’s lawyers say LiveOne and Slacker stopped making regular monthly licensing payments in August 2024 and now owe a total outstanding balance of $2.6 million.
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“In the past several months alone, Slacker claims to have seen increasing commercial success, touting a surge in usage of the LiveOne app and a year-over-year surge in content views,” write Sony’s attorneys. “Despite this self-proclaimed growth, Slacker—true to its name—has failed to make license payments to Sony Music as and when required under the agreement, and its parent, LiveOne, has likewise failed to live up to its guarantee.”
According to the lawsuit, Sony notified LiveOne and Slacker in March that it was terminating the content distribution deal in light of this contract breach. Sony says it “expressly informed” them that further use of its music would constitute copyright infringement, according to the lawsuit.
But Sony’s lawyers claim the LiveOne app is still streaming more than 200 of the label’s songs — also including tracks by Doja Cat, Harry Styles, Justin Timberlake and Khalid.
“Slacker’s conduct has caused and continues to cause substantial and irreparable harm to Sony Music and its artists, while enriching defendants at the expense of Sony Music and its artists,” write Sony’s lawyers. “By this lawsuit, Sony Music seeks damages for Slacker and LiveOne’s breach of the agreement and for defendants’ willful infringement of Sony Music’s copyrights since the March 15, 2025, termination of the agreement.”
Representatives for Slacker did not immediately return Billboard’s request for comment on the claims.
The lawsuit comes three years after Slacker and LiveOne faced a different lawsuit over unpaid fees from SoundExchange, the nonprofit that collects and distributes royalties to record labels and artists. A federal judge ultimately ordered the streaming companies to pay SoundExchange nearly $10 million in past-due royalties.
Universal Music, Warner Music and Sony Music are in talks with Udio and Suno to license their music to the artificial intelligence startups, Billboard has confirmed, in deals that could help settle blockbuster lawsuits over AI music.
A year after the labels filed billion-dollar copyright cases against Udio and Suno, all three majors are discussing deals in which they would collect fees and receive equity in return for allowing the startups to use music to train their AI models, according to sources with knowledge of the talks. Bloomberg first reported the news on Sunday (June 1).
If reached, such deals would help settle the litigation and establish an influential precedent for how AI companies pay artists and music companies going forward, according to the sources, who requested anonymity to discuss the talks freely.
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Such an agreement would mark an abrupt end to a dispute that each side has framed as an existential clash over the future of music. The labels say the startups have stolen music on an “unimaginable scale” to build their models and are “trampling the rights of copyright owners”; Suno and Udio argue back that the music giants are abusing intellectual property to crush upstart competition from firms they see as a “threat to their market share.”
Settlement talks are a common and continuous feature of almost any litigation and do not necessarily indicate that any kind of deal is imminent. It’s unclear how advanced such negotiations are, or what exactly each side would be getting. And striking an actual deal will require sorting out many complex and novel issues relating to brand-new technologies and business models.
Reps for all three majors declined to comment. Suno and Udio did not immediately return requests for comment. A rep for the RIAA, which helped coordinate the lawsuits, declined to comment.
If Suno and Udio do grant equity to the majors in an eventual settlement, it will call to mind the deals struck by Spotify in the late 2000s, in which the upstart technology company gave the music industry a partial ownership stake in return for business-critical content. Those deals turned out to be massively lucrative for the labels and helped Spotify grow into a streaming behemoth.
The cases against Udio and Suno are two of many lawsuits filed against AI firms by book authors, visual artists, newspaper publishers and other creative industries, who have argued AI companies are violating copyrights on a massive scale by using copyrighted works to train their models. AI firms argue that it’s legal fair use, transforming all those old works into “outputs” that are entirely new.
That trillion-dollar question remains unanswered in the courts, where many of the lawsuits, including those against Suno and Udio, are still in the earliest stages. But last month, the U.S. Copyright Office came out against the AI firms, releasing a report that said training was likely not fair use.
“Making commercial use of vast troves of copyrighted works to produce expressive content that competes with them in existing markets, especially where this is accomplished through illegal access, goes beyond established fair use boundaries,” the office wrote in the report.
Even with the legal landscape unsettled, some content companies have struck deals with AI firms. Just last week, the New York Times — which is actively litigating one of the copyright cases — struck a deal to license its editorial content to Amazon for AI training. Last fall, Microsoft signed a deal with HarperCollins to use the book publisher’s nonfiction works for AI model training.
Music companies have not struck any such sweeping deals, and instead have preferred more limited partnerships with tech companies for “ethical” AI tools. UMG signed a deal last summer with SoundLabs for an AI-powered voice tool for artists and another one in November with an AI music company called KLAY. Sony made an early-stage investment in March in a licensed AI platform called Vermillio.
After Sleepy Hallow‘s “2055” went triple platinum four years ago, Sony Music’s gaming-and-music team noticed something about the Jamaican-American rapper’s fans: They were gamers. And not just gamers, but Fortnite players.
According to the label’s internal research, Sleepy Hallow fans are 2.5 times more likely to play Fortnite than the national average and twice as likely to play games overall. “It stuck out,” says Alex Ciccimarro, vp of marketing for Sony-owned RCA Records. “Since then, every campaign we’ve worked on with Sleepy, we’ve tried to incorporate gamers.”
The latest project on this front is “The Hallow Heist,” an April 18 virtual-concert event on Fortnite in which a world designed by Sleepy Hallow with his team, employing Epic Games’ user tools known as Unreal Engine for Fortnite, led players to a new music video for “Girls Like Girls.” Hallow, 25, is a longtime Fortnite player who “came in with a bunch of ideas,” Ciccimarro says. The rapper built “The Hallow Heist” with help from his Winner’s Circle Entertainment managers, plus RCA and Sony Immersive Music Studios.
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Since the pandemic, a hit Fortnite experience can help an artist build a massive audience. Travis Scott‘s performance drew more than 12 million players in 2020, and 14.3 million experienced last December’s Remix: The Finale event starring Snoop Dogg, Juice WRLD, Eminem and Ice Spice. The user bases of Fortnite, Roblox and other gaming platforms are so potent for artists that one content producer told Billboard last year: “Just the way every artist has an Instagram account and a TikTok, eventually everyone’s going to have a Roblox presence.” Sony’s team has been especially aggressive in this space, including by arranging a virtual concert last October for British singer-songwriter Myles Smith.
“That intersection of gaming and music is a young-consumer-led trend — which obviously is super-important for us, because they’re so influential in breaking new artists,” says Dennis Kooker, Sony Music’s president of global digital business. “We’ve had a lot of young artists that have grown up playing games and know the space really well and have great creative ideas.”
Brad Spahr, senior vp/general manager of Sony Immersive Music Studios, says the Hallow world-creation team focused on a singular question: “What would Sleepy’s brain look like?” Very purple, as it turns out. In “The Hallow Heist,” the rapper’s avatar wears a puffy purple coat as evil robots armed with lasers put him to sleep, while the rest of the game involves players floating, jumping, zip-lining and racing cars through a futuristic purple cityscape. When they finally succeed, Hallow declares, “What a trip. I’ve got this song stuck in my head. Yep, studio time.” The game ends with a trip to a recording studio, where Hallow debuted his new single “Girls Like Girls.” A music video for the track subsequently came out on April 24 and landed 108,000 YouTube views in the first five days of its release. The track has streamed 1.2 million times overall, according to Luminate.
“He was involved the whole way,” says Spahr, whose Culver City, Calif.-based Sony Music team initially emphasized virtual reality when it started nearly 10 years ago, but now emphasizes Fortnite and Roblox in addition to other projects. “He gave us a lot of reference material — things we could work with to build the framework of a creative concept.”
As with all of the Sony team’s projects, Hallow’s Fortnite activation entailed a complex technology design but a simple idea: Reach gamers where they are. “It’s an ‘If you build it, they will come’ situation,” RCA’s Ciccimarro says. “The community wants to be there, and we just gave them something to do.”
Brooklyn rapper Sleepy Hallow has announced “The Hallow Heist,” an immersive concert event in Fortnite, developed in partnership with Sony Music and his label, RCA Records. Explore Explore See latest videos, charts and news See latest videos, charts and news Premiering on April 18, the event will take place on a custom island tailored to […]
Sony Music announced on Monday (April 7) that David Massey, president of Arista Records since its relaunch in 2018, will retire at the end of June. The company has yet to announce new leadership.
“It has been a privilege to work with David on the rebirth of Arista,” Sony Music Group chairman Rob Stringer said in making the announcement. “In two different eras at Sony Music, David has been a hugely respected key senior executive for the company worldwide and as a friend and colleague in both those eras I wish him all the happiness in his retirement.”
Founded by Clive Davis in 1974, Arista was the longtime home of Whitney Houston, Patti Smith, Carlos Santana and Barry Manilow, among other legends, before it was retired in 2011 by RCA executives. Sony Music Nashville continued to operate Arista Nashville, which featured Brad Paisley on its roster, until its closure in March 2023.
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Massey and Stringer’s decision to resurrect the Arista Records brand received the Davis seal of approval in 2018. “Clive was amazing about it,” Massey told Billboard at the time, “and I think we all just felt like it was a very natural, great opportunity to bring back a label that so many people respect and love seeing it.”
Under Massey’s leadership, Arista’s roster has included Grammy-nominated singer JP Saxe, Italian rock band Måneskin, and rappers Lola Brooke and Paul Russell, among others.
Prior to joining Arista, the British-born executive led Universal Music Group’s Mercury Records from 2007 until he became president of Island Records in 2013. During his tenure, Island was part of the Island Def Jam Music Group until it became a standalone entity in April 2014. At Island, Massey guided the careers of artists such as Shawn Mendes, Demi Lovato, Nick Jonas, Tove Lo, The Killers, Fall Out Boy, Bon Jovi and Mike Posner.
Earlier in his career, Massey spent a decade at Sony’s Epic Records, advancing through the A&R department to become head of the division, and later executive vice president of A&R for Sony Music Label Group U.S. He also founded Daylight Records, in 2000, where he signed and developed Good Charlotte, Jonas Brothers, Anastacia and Phantom Planet.
Before his tenure at Epic, Massey built a successful career in London as an artist manager, working with acts like Wang Chung. He also ran his own independent record company, Big World Records.
Massey served as a governor and trustee at the RIAA from 2010 to 2015.
“It has been a great honour to spend this chapter of my career back at Sony Music, working with Rob Stringer, a visionary executive for whom I have the utmost admiration, and with the extraordinary Sony family worldwide,” Massey said. “Having started the label from scratch nearly seven years ago, I am so proud of the achievements of the team at Arista and our great young artists. I know that Arista will go from strength to strength in the future.”
Sony Music is suing the University of Southern California (USC) for more than $25 million over claims that the college sports powerhouse illegally used songs by Michael Jackson, Beyonce and AC/DC in TikTok and Instagram videos hyping its teams.
In a complaint filed Tuesday (March 11) in New York federal court, the music giant says the school posted more than 250 videos featuring over 170 unlicensed tracks to its social media channels, including those by Britney Spears, Harry Styles, SZA, Mariah Carey, OutKast, Pink Floyd and Travis Scott.
“USC has one of the most lucrative college sports programs in the world, realizing over $200 million annually in revenues from its participation in a multi-billion dollar college sports,” the label’s attorneys write. “Despite having been on notice of its infringing conduct, USC has repeatedly failed to obtain licenses for its use of Sony Music sound recording.”
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Seeking $150,000 in so-called statutory damages for every song used, the lawsuit is demanding more than $25 million in potential damages — or more, if Sony can prove that it suffered even greater losses.
According to Sony Music, USC was notified of the problem as early as June 2021 and has been repeatedly warned since
“Rather than cease this infringing conduct, USC chose to flout copyright law, repeatedly posting new videos to the USC Social Media Pages that use Sony Music sound recordings knowingly and willfully and without permission,” the company wrote. “USC even left many uses available online after being put on notice from Sony Music that they were infringing.”
Social media platforms like TikTok and Instagram provide huge libraries of licensed music for users to add to their videos. But there’s a key restriction: The songs can’t be used for commercial or promotional videos posted by brands. That kind of content requires a separate “synch” license, just like any conventional advertisement on TV.
That crucial distinction has led to numerous lawsuits in recent years.
Beginning in 2021, all three majors sued drink maker Bang Energy over its TikTok videos, with Universal Music Group (UMG) and Sony Music eventually winning large judgments. In May, Sony filed a case against Marriott over accusations that the hotel chain had used nearly 1,000 of its songs in social media posts. In July, Kobalt and other publishers sued more than a dozen NBA teams over the same thing. The restaurant chain Chili’s has been sued twice, once by the Beastie Boys and later by UMG over tracks from Ariana Grande, Justin Bieber and dozens of other artists.
In Tuesday’s case against USC, attorneys for Sony say that the school’s own social media brand guidelines expressly warned against using copyrighted music in videos: “If you want to feature ‘popular music’ in your video, as in music you hear on the radio, you must license it from the publishing company and or record company,” USC’s guide allegedly reads.
“In flagrant disregard of this clear guidance, USC itself has distributed hundreds of videos (if not more) which contain infringing uses of Sony Music’s sound recordings,” Sony’s lawyers write in the lawsuit. “These uses were made without permission, without compensation to Sony Music and its artists, and in violation of USC’s own written guidelines.”
A spokesperson for USC did not immediately return a request for comment on Wednesday (March 12).
Vermillio, an AI licensing and protection platform, raised $16 million in Series A funding led by Sony Music and DNS Capital, the company announced on Monday (March 3). This marks the first time Sony Music has invested in an AI music company.
Sony Music’s relationship with Vermillio dates back to 2023, when the two companies collaborated on a project for The Orb and David Gilmour. Through the partnership, fans could use Vermillio’s proprietary AI tech to create personalized remixes of the acts’ 2010 ambient album Metallic Spheres.
According to a press release, Vermillio plans to use the funds to scale operations and “continue building out solutions for a generative AI internet that enables talent, studios, record labels, and more to protect and monetize their content.”
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Vermillio’s goal is to create an AI platform that securely licenses intellectual property (IP). One of its core products is TraceID, which provides protection and third-party attribution for artists. Through it, the company claims artists and rights holders can control their data and AI rights.
Apart from its collaboration with Sony Music for the AI remix project, Vermillio has also worked with top talent agency WME to shield its clients from IP theft and find opportunities to monetize their name, image and likeness rights by licensing their data. Sony Pictures also worked with Vermillio to create an AI engine that allowed fans to make their own unique digital avatars in the style of Spider-Verse animation. Each of the fan generations were then tracked using TraceID so that all works could be tied back to the filmmakers’ original IP.
“We are setting a new standard for AI licensing — one that proactively enables consent, credit, and compensation for innovative opportunities,” said Dan Neely, co-founder/CEO of Vermillio, in a statement. “With the support of an innovation leader like Sony Music, Vermillio will continue building our products that ensure generative AI is utilized ethically and securely. At this critical moment in determining the future of AI and how to hold platforms accountable, we are proud to protect the world’s most beloved content and talent.”
“Sony Music is focused on developing responsible generative AI use cases that enhance the creativity and goals of our talent, protect their work, excite fans, and create new commercial possibilities,” added Dennis Kooker, president of global digital business at Sony Music Entertainment. “Dan Neely and the team at Vermillio share our vision that prioritizing proper consent, clear attribution and appropriate compensation for professional creators is foundational to unlocking monetization opportunities in this space. We look forward to expanding our successful collaboration with them as we work to support the growth of trusted platforms by enabling secure AI solutions that are mutually beneficial for technology innovators, artists and rightsholders.”
