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Elbows up for another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s a full slate of news this week, so let’s get started.
Universal Music Canada promoted Amanda Kingsland to vp of A&R, co-leading the company’s A&R efforts with Shawn Marino, the vp of A&R operations. Together, they’ll lead UMC’s A&R teams — located in both Toronto and Montreal — to sign, develop, and break new Canadian artists. Kingsland, who joined UMC in 2021, revitalized the country music roster and multiple projects. Marino, a 30-year industry veteran, oversees 80A Studios, the label’s multi-room recording space, and The Academy, UMC’s event space. UMC’s artists include Josh Ross, Sofia Camara, Mae Martin, Owen Riegling and thiarajxtt, alongside recent signings AP Dhillon, Lindsay Ell, James Barker Band, Sebastian Gaskin, and TyriqueorDie. Julie Adam, president and CEO, praised Kingsland and Marino’s leadership, emphasizing their role in investing in artistic voices. “Music – and the artists who create it – are our driving force,” she said. “We focus our hustle, passion, care, creativity, and abundance of forward-thinking ideas on helping the artists we work with achieve personal, artistic, and commercial success. And at the centre of our mission to sign, develop, and break artists is our industry-leading A&R team.”
Hopeless Records announced key hires and promotions as it cements its position in the indie music industry. Ian Harrison is promoted to executive vp, focusing on business development and global growth. Erin Choi becomes general manager, overseeing global marketing and promotions after nearly two decades with the label. Christina Johns steps up as vp of operations, while Nonafaye Williams advances to senior director of product management. New additions include Jen Darmafall as director of marketing and Rheanna ‘Caedance’ Lauren as program director of the Hopeless Music Academy, which offers music education to under-resourced youth in Los Angeles. Founder Louis Posen praised the leadership team — Harrison, Choi, Johns, CFO Al Person, and evp of A&R Eric Tobin — as a passionate, “caring and talented executive team.” He also emphasized the label’s commitment to artist development, highlighting the Academy’s launch as a dream realized.
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Universal Music Greater China appointed Vivian Xu as chief operating officer, effective immediately. Based in Beijing, Xu will report directly to Timothy Xu, chairman and CEO. In her new role, she’ll collaborate with the senior leadership team to oversee daily operations and identify market expansion opportunities. Xu brings extensive experience from her previous roles at Columbia China, Sony Music Entertainment China, Motorola Solutions, Sony Ericsson and Schneider Electric China. Xu’s appointment is expected to enhance UMGC’s capabilities and strengthen its position in the Chinese music market. UMGC represents a diverse artist roster, including Li Nong Chen, Sunnee, Tanya Chua and Guo Ding. It has also partnered with Modern Sky, which features acts like New Pants and Tizzy T. Timothy Xu and Adam Granite, executive vp market development at UMG, praised her strategic insights and operational expertise.
MSG Entertainment and MSG Sports — friends call-em “the MSG family of companies” — appointed Doug Jossem as executive vp, global sports and entertainment partnerships. Reporting to Jamaal Lesane, chief operating officer of MSG Sports, Jossem will lead global partnership initiatives across MSG Sports and MSG Entertainment while supporting sales for MSG Networks. Jossem brings over 20 years of experience in media, advertising, and management, previously leading Walmart Connect’s largest business unit and holding key roles at Twitter, Vice, Comedy Central and CNN. Lesane highlighted MSG’s topline brands, expressing confidence in Jossem’s ability to create “innovative solutions that leverage the full depth and breadth of our portfolio to create unique platforms and unrivaled exposure for our partners.”
Nathaniel Brown, former PR head at Warner Bros. Discovery, joined TikTok as global head of corporate communications, reporting to Zenia Mucha. Based in New York, Brown previously held roles at 21st Century Fox, MTV Networks and SiriusXM. At Discovery, he managed PR during the 2022 merger and controversial decisions like shelving projects for tax write-offs. Brown left the company in January 2024. Now at TikTok, he faces significant challenges, including a potential U.S. ban on the app, set for April 5, after President Trump delayed the law earlier this year.
Candice Watkins, senior vp of marketing at Big Loud Records and a fixture on various Billboard power lists, confirmed she is leaving the Nashville label after a six-and-a-half year run. Prior to joining BLR, the USC alum clocked a couple years as senior director of marketing and artist development at Universal Music Group. The news was first covered by HITS, which reported “big plans on the horizon” for the executive.
Red Street Records hired Jason McArthur as the label’s vice president of Christian A&R and publishing, to lead in developing and expanding the roster of Christian artists and songwriters at Red Street Records and Red Street Publishing. McArthur will oversee the label’s Christian roster, including Jason Crabb, Consumed By Fire, Cade Thompson and Iveth Luna, in addition to songwriters Brian White, the Ward Brothers and Crabb. McArthur previously served as vp of A&R at Sony Music Entertainment’s Provident Entertainment. –Jessica Nicholson
ATC Management expanded its U.S. team with new managers Dev Crawford and Jay Saunders. Based in Los Angeles, Crawford represents rapper Earl Sweatshirt and singer-songwriter Fana Hues, bringing extensive experience in hip-hop and R&B, including tour management for Snoh Aalegra and NxWorries. Saunders will lead ATC’s Nashville expansion, specializing in Americana, folk and all things roots. He previously worked with Marty Diamond and Mark Williams at Concord and now represents artists like John Vincent III and Kacy Hill. Both managers will continue signing new clients, joining a roster that includes Nick Cave, PJ Harvey and The Smile. They’ll work closely with Jackson Perry, head of management in North America, and can be reached at dev@atcmanagement.com and jay@atcmanagement.com.
Warner Music France launched Adore Music, a dance label led by Romain Pasquier, a 17-year WMG veteran. The label aims to showcase both emerging and established dance artists, leveraging Warner Music’s global resources to support talent in France and beyond. Pasquier, the managing director who’ll keep his senior role at label and artist services division WEA, is committed to honoring France’s electronic music legacy while nurturing the next generation. He is joined by Adrien Morin-Guardia, A&R and head of marketing, and Nicolas Klersky, A&R. Adore Music’s first release, “Need You the Most” by house duo Ofenbach, debuted on March 21. Parlez-vous français? Check out Billboard France‘s story on the launch.
Infamous promoted Jelani Wright to vp of festivals & events for North America. In his new role, Wright will oversee creator and publicity campaigns for North American music festivals, including CRSSD Festival, Lightning in a Bottle and its producer Do Lab, HARD Summer, Hangout Festival, Sand In My Boots, ARC Festival, Splash House, M3F Festival, and Electric Forest. Wright will also handle campaigns for international festivals including Barcelona’s Primavera Sound, Montreal’s Igloofest and Turin’s KappaFutur Festival. Wright started at Infamous as a publicist in the festival division in 2020 after graduating from the agency’s Fellowship program, an initiative that helps BIPOC candidates break into the music industry. Wright will report to Infamous COO Maxfield Frieser, who says that “Jelani’s passion, leadership, and innovative approach to earned media have been instrumental in evolving our festival campaigns and helping grow the division.” –Katie Bain
“Single White Female” singer-songwriter Chely Wright announced her new role as senior vp of corporate social responsibility and new market growth at facilities management firm ISS. She’ll drive impact by fostering client and community partnerships and empowering ISS’ 320,000+ employees. Wright’s initiatives will strengthen client relationships and celebrate internal culture, focusing on partnerships that unite corporate entities and community organizations. Wright was the first country artist to come out as gay in 2010 — read about her career transition in Stephen Daw’s new profile.
NASHVILLE NOTES: Matthew Miller, a veteran country music manager, joined talent agency The Familie, bringing artists William Beckmann and LEW. With 20-plus years of experience at WME, Red Light and more, Miller praised The Familie’s collaborative culture, while evp Royce Risser highlighted his expertise and artist-focused management approach … Monti Smith joined King Pen Music as creative coordinator after interning at the publishing company. He will work closely with CEO Kelly King and Amanda Roach, creative manager.
Brandon Holman joined Amber Health to lead industry relations. Previously, he was vp of marketing and wellness at Guin Records and co-founded The Lazuli Collective, an experiential wellness agency. Earlier in his career, Holman made stops at UnitedMasters and TikTok in various marketing and label partnerships roles. Amber Health, established in 2020, styles itself as the only full-service mental health and wellness solution for the music industry, focusing on supporting artists, tours, events and music companies. In 2023, Holman penned a guest column on how Guin prioritizes artists’ well-being, empowering them to create and share their music in a sustainable way.
The Circuit Group formed a joint venture with James Ahearn, founder of Buena Artists & Projects, to expand its global artist management team. Ahearn brings his roster, including Sparrow & Barbossa, Two Friends and Stevie Appleton/Collect 200. Ahearn praised The Circuit Group’s innovative approach and expressed excitement about launching his own division within the company. Dean Wilson, CEO of The Circuit Group, highlighted Ahearn’s impressive track record in artist management, adding, “his ability to identify and develop artists, foster impactful partnerships and navigate both the major label system and independent space makes him a perfect fit.”
Viamedia, the independent digital and linear advertising rep firm, acquired digital advertising company LocalFactor. LocalFactor’s founder and CEO, Evan Rutchik, will become Viamedia’s president and chief strategy officer, reporting to CEO David Solomon. Rutchik will drive Viamedia’s strategic vision, oversee LocalFactor’s operations, and join Viamedia’s board.
ALL IN THE FAMILY: Billboard welcomed Delisa Shannon as its new shortform content director. She joined from Rolling Stone and started this week in the New York office. Also, new staff writer Mackenzie Cummings-Grady will officially join the team on April 1, based in NYC … The Hollywood Reporter made three key editorial changes: Beatrice Verhoeven dropped the “deputy” from her title and is now “just” awards editor, longtime contributor Brande Victorian joined as the deputy awards editor, and senior awards editor Steven Zeitchik is now senior editor of technology and politics.
ICYMI:
Fernando Cabral
Fernando Cabral de Mello was appointed CEO of Sony Music Entertainment Brazil as part of a new organizational structure … Avex appointed S10 founder Brandon Silverstein as CEO of its new Avex Music Group to enhance its U.S. presence and promote Avex artists globally … and longtime music manager Andrew Goldstone joined the team at Milk & Honey as head of electronic music. [Keep Reading]
Last Week’s Turntable: Dizzying Changes Made at Spinnin’ Records
In 2023, Grammy-winning producer Daniel Nigro founded his independently-funded Amusement Records primarily as a home for a then-independent Chappell Roan to release the album they made together, The Rise and Fall of a Midwest Princess.
Roan at the time had been recently dropped by her former label, but as Nigro told Billboard when announcing Amusement: “I was so in love with everything that we were doing. I believe in [Chappell] so much that I was like, ‘Do I want this added stress in my life? Is it worth it? Yes.’”
And it sure was. Last August, almost one year after her debut album’s release, The Rise and Fall peaked at No. 2 on the Billboard 200. The following month, she scored her highest-charting Hot 100 hit with “Good Luck, Babe!” And this February, Roan won the Grammy for best new artist.
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Now, on Wednesday (March 26), Universal Music Group and Nigro announced an expanded partnership with Amusement following the knockout success of Roan and building on the producer’s long-term creative relationship with superstar Olivia Rodrigo (who is signed to UMG label Geffen/Interscope). Going forward, Amusement will operate as a label venture within UMG, allowing new signees to partner with any of UMG’s labels.
“Daniel embodies the type of creative brilliance and entrepreneurial spirit that is at the heart of UMG,” UMG chairman and CEO, Sir Lucian Grainge, said in a statement. “I can’t wait to hear the culture shaping music and artists [he] will bring next to our global family.”
Since Nigro founded Amusement, he and Roan have both celebrated new highs. The Rise and Fall of a Midwest Princess spawned six Hot 100 hits, including the top 10 smash “Pink Pony Club.” Meanwhile, Nigro earned his second Grammy for producer of the year at the 2025 ceremony for his work with Roan, Rodrigo and the soundtrack for The Hunger Games: The Ballad of Songbirds & Snakes. (His first win was for Rodrigo’s debut album Sour.)
“After 6 years of working almost exclusively with the various labels [and] artists under Universal, it made perfect sense to make the relationship more formal,” Nigro said in a statement. “I want Amusement Records to be a place where artists can feel comfortable growing and developing at their own pace but with all the real resources needed to thrive and succeed.”
“Also,” he added, “a place where I can have the freedom to help choose the right team each time for the artist. I know in my heart that the people at Universal understand this, and I am beyond excited about what’s to come.”
Universal Music Group is asking a federal judge to halt all discovery in Drake’s defamation lawsuit over Kendrick Lamar’s diss track “Not Like Us,” arguing that the star is unfairly demanding “highly commercially sensitive documents” – including Lamar’s record deal.
A day after moving to dismiss the lawsuit, UMG followed up Tuesday by asking the judge to pause discovery until he rules on that motion. That ruling is likely to end the entire case, UMG argued, and the label should not face costly demands for documents that will ultimately “be rendered moot.”
Such a delay is particularly necessary, UMG said, because Drake’s lawyers are already demanding “broad discovery” requests that impose an “undue burden” on the company. Those asks have allegedly ranged from Interscope boss John Janick’s pay structure to Lamar’s record deal.
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“Drake’s requests…seek production of confidential, proprietary, and highly commercially sensitive documents — including all contracts between UMG and Kendrick Lamar,” the label writes. “Proceeding with discovery while the motion is pending would waste the parties’ resources and would constitute an undue burden on defendant.”
In a statement Wednesday, Drake’s attorney Michael J. Gottlieb said it was “unsurprising” that UMG was “desperate” to avoid handing over evidence: “This motion is a ploy to delay producing documents and communications that UMG hopes to keep hidden and buried. If UMG has nothing to hide, it should not have an issue with discovery.”
UMG did not immediately return a request for comment.
Lamar released “Not Like Us” last May amid a high-profile beef with Drake that saw the two stars drop a series of bruising diss tracks. The song, a knockout punch that blasted Drake as a “certified pedophile” over an infectious beat, eventually became a chart-topping hit in its own right and was the centerpiece of Lamar’s Super Bowl halftime show.
In January, Drake took the unusual step of suing UMG over the song, claiming the label had defamed him by boosting the track’s popularity. The lawsuit, which doesn’t name Lamar himself as a defendant, alleges that UMG “waged a campaign” against its own artist to spread a “malicious narrative” about pedophilia that it knew to be false.
UMG moved to dismiss the case on Monday, arguing not only that Drake’s allegations against the company were clearly “meritless,” but that the star filed his case simply because he had been publicly embarrassed: “Instead of accepting the loss like the unbothered rap artist he often claims to be, he has sued his own record label in a misguided attempt to salve his wounds.”
In Tuesday’s filing, UMG argued that it was highly likely to succeed on those claims. And it warned that the daunting cost of defending against meritless defamation cases can be abused by those that want to squelch free speech.
“Critically, courts in this District have emphasized that defamation defendants must be protected from unnecessary discovery to safeguard First Amendment protections,” the company’s lawyers write. “A stay is therefore particularly warranted here given the untenability of Drake’s defamation claim and the First Amendment rights at issue.”
The two sides have already sparred over discovery once before. In a court filing last month, Drake’s lawyers said UMG was unfairly seeking to delay the case as their client continued to be defamed — and they cited Lamar’s halftime show as evidence of such ongoing harm. A judge eventually sided with Drake over that procedural issue, setting the stage for UMG’s motion on Tuesday.
Universal Music Group has filed a scathing first court response to Drake’s defamation lawsuit over Kendrick Lamar’s diss track “Not Like Us,” blasting the case as “no more than Drake’s attempt to save face” after losing a rap beef.
In a motion filed Monday (March 17) seeking to dismiss the lawsuit, attorneys for the music giant argued that Drake’s allegations against the company were clearly “meritless” — and that he had gone to court simply because he had been publicly embarrassed.
“Plaintiff, one of the most successful recording artists of all time, lost a rap battle that he provoked and in which he willingly participated,” UMG’s lawyers write. “Instead of accepting the loss like the unbothered rap artist he often claims to be, he has sued his own record label in a misguided attempt to salve his wounds.”
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In the filing, UMG pointedly noted that Drake himself had leveled his own “hyperbolic insults” and “vitriolic allegations” during the same exchange of stinging rap tracks, including accusing Lamar of domestic abuse and questioning whether the rival had really fathered his son.
“Drake has been pleased to use UMG’s platform to promote tracks leveling similarly incendiary attacks at Lamar,” the company’s attorneys write. “But now, after losing the rap battle, Drake claims that ‘Not Like Us’ is defamatory. It is not.”
In a statement to Billboard on Monday, Drake’s attorney Michael J. Gottlieb responded to the new filing. “UMG wants to pretend that this is about a rap battle in order to distract its shareholders, artists and the public from a simple truth: a greedy company is finally being held responsible for profiting from dangerous misinformation that has already resulted in multiple acts of violence,” Gottlieb said. “This motion is a desperate ploy by UMG to avoid accountability, but we have every confidence that this case will proceed and continue to uncover UMG’s long history of endangering, abusing and taking advantage of its artists.”
Lamar released “Not Like Us” last May amid a high-profile beef with Drake that saw the two stars release a series of bruising diss tracks. The song, a knockout punch that blasted Drake as a “certified pedophile” over an infectious beat, eventually became a chart-topping hit in its own right and was the centerpiece of Lamar’s Super Bowl halftime show.
In January, Drake took the unusual step of suing UMG over the song, claiming the label had defamed him by boosting the track’s popularity. The lawsuit, which doesn’t name Lamar himself as a defendant, alleges that UMG “waged a campaign” against its own artist to spread a “malicious narrative” about pedophilia that it knew to be false.
But in Monday’s response, UMG says the lyrics to Lamar’s song are clearly the kind of free speech that are shielded from defamation lawsuits by the First Amendment. The song contains over-the-top insults, the company argued, but so do all such tracks, including those by Drake.
“Diss tracks are a popular and celebrated artform centered around outrageous insults, and they would be severely chilled if Drake’s suit were permitted to proceed,” the company wrote. “Hyperbolic and metaphorical language is par for the course in diss tracks — indeed, Drake’s own diss tracks employed imagery at least as violent.”
In technical terms, UMG is arguing that Lamar’s lyrics are either “rhetorical hyperbole” or opinion — the kind of statements that might sound bad but cannot actually be proven false. Since defamation only covers false assertions of fact, statements of hyperbole and opinion can’t form the basis for such lawsuits.
To make that point, UMG cites Drake’s own public support for a 2022 petition criticizing prosecutors for using rap lyrics as evidence in criminal cases. That letter, also signed by Megan Thee Stallion, 21 Savage and many other stars, criticized prosecutors for treating lyrics as literal statements of fact.
“As Drake recognized, when it comes to rap, ‘the final work is a product of the artist’s vision and imagination’,” UMG’s lawyers write. “Drake was right then and is wrong now. The complaint’s unjustified claims against UMG are no more than Drake’s attempt to save face for his unsuccessful rap battle with Lamar. The court should grant UMG’s motion and dismiss the complaint with prejudice.”
Drake’s attorneys will file a court response to UMG’s motion in the weeks ahead, and the judge will rule on the motion at some point in the next few months. If denied, the case will move ahead into discovery and toward an eventual trial.
Universal Music Group chairman and CEO Lucian Grainge delivered an update on the company’s response to the Los Angeles wildfires on Tuesday, writing in a staff memo obtained by Billboard that while many evacuated employees have returned home, others remain displaced, while some have “lost their homes completely.”
Grainge said the Santa Monica-based company is actively supporting affected employees by providing resources to meet both immediate and long-term needs. Over 100 employees have volunteered to help colleagues through various means, such as offering shelter, babysitting and donating clothes, he said.
Beyond internal support, UMG has been involved in community relief efforts, including volunteering, providing meals and donating clothing and hotel rooms for displaced families. Additionally, Grainge said UMG has made financial contributions to several organizations supporting relief efforts, including the American Red Cross, California Community Foundation, The California Fire Foundation, Direct Relief, Entertainment Industry Foundation, L.A. Regional Food Bank, MusiCares, Music Health Alliance, Mutual AID Network L.A., Pasadena Humane Society and World Central Kitchen, among others.
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“What has impressed me the most throughout this tragic event is the fact that collectively we haven’t just made financial contributions, but so many of our colleagues have rolled up their sleeves and gone to work,” he said. “We know that even after every fire is extinguished the road to recovery will be very long. We will be there every step of the way.”
UMG announced earlier this month that it is canceling all of the company’s Grammy-related events, including its artist showcase and after-Grammy party, and will instead “redirect the resources that would have been used for those events to assist those affected by the wildfires.”
Read Grainge’s full memo below:
Dear Colleagues,
I’m writing to update you on our efforts related to the Los Angeles fires. In short, while many of our evacuated employees have fortunately been able to return to their homes, others who are in the most seriously affected areas remain displaced and will be so for some time to come. Some have lost their homes entirely.
We are working closely with those affected employees, providing them a range of resources and support to meet their immediate individual or family needs. Following meetings with the team of UMG leaders that I mentioned in my prior note, we are also determining the best ways to help these employees going forward. And in addition to the company’s support, more than 100 employees have volunteered to help their colleagues—from opening their homes to babysitting, dog walking, donating clothes, and more.
In terms of recovery of the broader community, from Day One we’ve been on the ground helping wherever we can. Whether it’s volunteering at relief organizations, providing meals to first responders and affected community members, donating clothing or providing hotel rooms to displaced families.
And in addition to all this, we’ve made financial contributions to a range of organizations, including the American Red Cross, California Community Foundation, The California Fire Foundation, Direct Relief, Entertainment Industry Foundation, L.A. Regional Food Bank, MusiCares, Music Health Alliance, Mutual AID Network L.A., Pasadena Humane Society, World Central Kitchen, and more.
What has impressed me the most throughout this tragic event is the fact that collectively we haven’t just made financial contributions, but so many of our colleagues have rolled up their sleeves and gone to work.
We know that even after every fire is extinguished the road to recovery will be very long. We will be there every step of the way.
You can read more about these efforts in our latest edition of our All Together Now bi-weekly newsletter.
I’m so enormously proud of the fact that so many of you have shown up to help our community and your colleagues. I’m grateful but not surprised. As a company, this is who we are.
Lucian
Limp Bizkit has suffered a setback in its $200 million lawsuit against Universal Music Group, with a federal judge ruling that the band cannot legally void its contracts of “nearly 30 years” over accusations of underpaid royalties.
The blockbuster case, filed last year in Los Angeles federal court, claims that frontman Fred Durst and the band have “not seen a dime in royalties” over the years. Among other claims, the lawsuit argued that the band is therefore entitled to a ruling of “rescission” that terminates its deals with UMG.
But in a decision Friday (Jan. 17), Judge Percy Anderson ruled that the band had in fact been “paid millions in advances” and that UMG had fronted “substantial sums” to record and distribute Limp Bizkit’s albums – meaning the band doesn’t deserve the drastic remedy of terminating the decades-old deals.
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“Plaintiffs seek rescission of contracts that have governed the parties’ relationship beginning in 1996 – nearly 30 years – because the agreements should be rescinded as fraudulently induced,” the judge wrote. “Plaintiffs have not plausibly alleged the type of ‘substantial’ or ‘total failure’ in the performance of the contracts that could support rescission of the parties’ agreements.”
The ruling isn’t a total defeat. Judge Anderson didn’t reach many of the lawsuit’s other legal claims, including fraudulent concealment and intentional misrepresentation, and gave Limp Bizkit’s lawyers a chance to fix the rescission claim. But the judge’s wording suggested he will be skeptical of revoking a contract when “millions in royalties were advanced and paid under decades-old agreements.”
If finalized, the decision is something of a double blow for Durst’s lawsuit. It would not only reject his efforts to rescind the contracts, but would sink one of his other core allegations: that UMG has infringed Limp Bizkit’s copyrights. Such a claim — which could carry a huge damages award — can only succeed if the band’s contracts are voided and it legally regains its ownership of the copyrights, the judge wrote.
That could also mean the case is headed to another court entirely. If Limp Bizkit’s lawsuit no longer contains federal copyright claims, a federal court would no longer have jurisdiction over the case, meaning the lawsuit’s remaining accusations against UMG would need to be refiled in a state court.
In a statement to Billboard on Wednesday, attorneys for Durst and Limp Bizkit downplayed the impact of the ruling, noting that the court had “upheld a majority of our claims” and given them a second shot at the rejected claims.
“The facts speak for themselves,” said Frank Seddigh, the band’s lead attorney. “Universal will be held accountable for its actions and will not get away with its conduct at the expense of artists.”
A spokesman for UMG declined to comment.
Durst and Limp Bizkit sued in October, claiming the band had “never received any royalties from UMG,” despite its huge success over the years: “The band had still not been paid a single cent by UMG in any royalties until taking action.”
That claim was something of a stunner. How had one of the biggest bands of its era, which sold millions of records during the music industry’s MTV-fueled, turn-of-the-century glory days, still never have been paid any royalties nearly three decades later?
According to Durst, the answer was an “appalling and unsettling” scheme to conceal royalties from artists and “keep those profits for itself.” He claimed UMG had essentially kept Limp Bizkit in the red with shady bookkeeping, allowing the label to falsely claim the band remained unrecouped — meaning its royalties still had not surpassed the amount paid in upfront advances.
UMG hit back a month later, calling the allegations “fiction” and demanding they be thrown out of court. The music giant’s attorneys argued that Limp Bizkit’s own legal filings contradicted the accusation that the band had not been paid: “Plaintiffs concede thereafter receiving millions of dollars in payments.”
Following Friday’s decision, Limp Bizkit has until early next month to refile an amended version of the lawsuit.
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Source: Cole Burston / Getty
Just when it seemed like Drake was about to move on from the massive loss he took at the hands of Kendrick Lamar by dropping his legal petition against Universal Music Group and Spotify over their promotion of “Not Like Us,” the Certified Lover Boy artist shocked the Hip-Hop world by turning around and suing UMG for “defamation” over the record. Christ on crutches.
Continuing to make himself look funny in the light, “Deposition” Drizzy sued his own record label stating that the new classic diss record slandered his reputation for alleging that he was a pedophile amongst a few other head-nodding allegations. Not taking the lawsuit lying down, Billboard is reporting that Universal Music Group has responded to Drake’s lawsuit by calling it “illogical” and accusing the Canadian crooner of “weaponizing the legal system.”
While it’s safe to say that many Hip-Hoppers agree that Drake is reaching with his latest lawsuit, it’s also become obvious that Drake is looking for any way to save some face, as Kendrick’s scathing diss track has cost Drake not only his “street credibility” but also his popularity amongst Hip-Hop fans who aren’t so interested in hearing any new material from Drake anytime soon. That being said, filing such a lawsuit not only makes him look that much worse out on these streets, but continues to give life and notoriety to Kung Fu Kenny’s now-classic club diss record.
Per Billboard:
In a strongly-worded statement issued Wednesday afternoon (Jan. 15), UMG flatly denied the allegations in Drake’s lawsuit — filed earlier in the day in New York federal court — and sharply criticized its superstar artist for bringing it.
“Not only are these claims untrue, but the notion that we would seek to harm the reputation of any artist—let alone Drake—is illogical,” the company wrote. “We have invested massively in his music and our employees around the world have worked tirelessly for many years to help him achieve historic commercial and personal financial success.”
In his new lawsuit, Drake claims that UMG knew that “Not Like Us” contained false allegations against his character but that his record label decided to put it out anyway and “chose to place corporate greed over the safety and well-being of its artists.”
UMG clapped back by saying that Drake himself has engaged in numerous rap battles where he too participated in the slandering of his fellow Hip-Hop peers.
“Throughout his career, Drake has intentionally and successfully used UMG to distribute his music and poetry to engage in conventionally outrageous back-and-forth ‘rap battles’ to express his feelings about other artists,” UMG wrote. “He now seeks to weaponize the legal process to silence an artist’s creative expression and to seek damages from UMG for distributing that artist’s music.”
“We have not and do not engage in defamation—against any individual,” UMG said in the statement. “At the same time, we will vigorously defend this litigation to protect our people and our reputation, as well as any artist who might directly or indirectly become a frivolous litigation target for having done nothing more than write a song.”
Most rappers would just take the loss and move on with their life (See Ja Rule). Not Drake though. That man will obviously go to great lengths to salvage whatever “honor” he feels he has left even if it means making him look like a Canadian Karen to millions of Hip-Hoppers in the process.
God help us all.
What do y’all think about Universal Music Group’s response to Drake’s latest lawsuit? Are they in the right? Does Drake have a case given Hip-Hop’s history of rap battles? Let us know in the comments section below.
Drake has filed a lawsuit against Universal Music Group (UMG) over allegations that the music giant defamed him by promoting Kendrick Lamar’s diss track “Not Like Us,” claiming the label boosted a “false and malicious narrative” that the star rapper was a pedophile and put his life in danger.
Hours after his attorneys withdrew an earlier petition, they filed a full-fledged defamation lawsuit Wednesday against his longtime label – claiming UMG knew Lamar’s “inflammatory and shocking allegations” were false but chose to place “corporate greed over the safety and well-being of its artists.”
“UMG intentionally sought to turn Drake into a pariah, a target for harassment, or worse,” the star’s lawyers write in a complaint filed in Manahttan federal court. “UMG did so not because it believes any of these false claims to be true, but instead because it would profit from damaging Drake’s reputation.”
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In one of the lawsuit’s most vivid accusations, Drake claims that the release of “Not Like Us” has subjected him to risk of physical violence, including a drive-by shooting on his Toronto area home just days after the song was released.
“UMG’s greed yielded real world consequences,” his lawyers write. “With the palpable physical threat to Drake’s safety and the bombardment of online harassment, Drake fears for the safety and security of himself, his family, and his friends.”
Notably, the case does not target Lamar himself — a point that Drake’s attorneys repeatedly stress in their filings.
“UMG may spin this complaint as a rap beef gone legal, but this lawsuit is not about a war of words between artists,” Drake’s attorneys say.
A spokesman for UMG did not immediately return a request for comment.
Wednesday’s lawsuit is yet another dramatic escalation a high-profile beef that saw Drake and Lamar exchange stinging diss tracks last year, culminating in Lamar’s knockout “Not Like Us” — a track that savagely slammed Drake as a “certified pedophile” and became a hit in its own right.
Drake shocked the music industry in November when he filed petitions suggesting he might sue over the fued — first accusing UMG and Spotify of an illegal “scheme” involving bots, payola and other methods to pump up Lamar’s song, then later claiming that the song had been defamatory. But those cases were not quite full-fledged lawsuits, and Drake withdrew one of them late on Tuesday.
Now it’s clear why: In Wednesday’s lawsuit, he formally sued UMG over the same alleged scheme, claiming the label “unleashed every weapon in its arsenal” to drive the popularity of Lamar’s track even though it knew the lyrics were “not only false, but dangerous.”
“With his own record label having waged a campaign against him, and refusing to address this as a business matter, Drake has been left with no choice but to seek legal redress against UMG,” his lawyers write.
The filing of the case represents a doubling-down for Drake, who has been ridiculed in some corners of the hip-hop world filing legal actions over a rap beef. It also will deepen further his rift with UMG, where the star has spent his entire career — first through signing a deal with Lil Wayne’s Young Money imprint, which was distributed by Republic Records, then by signing directly to Republic.
In his complaint, Drake’s lawyers said the label opted to boost “Not Like Us” despite its “defamatory” lyrics because they saw it as a “gold mine” — partly because UMG owns Lamar’s master recordings outright, but also because it could use the song to hurt Drake’s standing in future contract talks.
“UMG’s contract with Drake was nearing fulfillment … UMG anticipated that extending Drake’s contract would be costly,” his lawyers write. “By devaluing Drake’s music and brand, UMG would gain leverage to force Drake to sign a new deal on terms more favorable to UMG.”
This is a breaking news story and will continue to be updated with additional details as they become available.
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Drake shocked his legion of fans and detractors by taking pre-trial legal action against Universal Music Group and Spotify for allegedly platforming “Not Like Us,” the scathing diss track from his rival Kendrick Lamar. This week, Drake filed to drop the legal petition against UMG and Spotify which prompted many on X to assume that the OVO honcho is waving the white flag.
As reported in detail by Billboard, Drake and his legal team filed for the withdrawal of the petition on Tuesday (Jan. 14) in a Manhattan court. The Canadian superstar’s Frozen Moments LLC was the top name on the petition and as the outlet adds, the company still has an active filing aimed at UMG and iHeartRadio in Texas courts. No official statements have been made by the aforementioned parties in these matters.
In November, Drake took action against UMG and Spotify in the aftermath of his explosive audio feud with Kendrick Lamar, with “Not Like Us” topping the Billboard charts and shifting the musical landscape. Many on the sidelines believe that the Canadian superstar’s light has dimmed since taking the heavy blows delivered during the back-and-forth battle, along with unproven accusations of sexual misconduct and other heinous charges.
The petition was a revelation for many considering the longtime partnership between Drake and UMG, which began with Lil Wayne’s Young Money outfit before signing with Republic Records. In 2022, Drake signed a deal with UMG reported to be up to $400 million, adding to the shockwaves felt by the industry with the filing of the petition.
In it, Drake states that UMG violated the Racketeer Influenced and Corrupt Organizations Act and added that Spotify worked with the company by offering reduced licensing fees in exchange for pushing “Not Like Us” into the algorithms of users of the streaming service. The Texas petition levies similar charges. The outlet rightly explains that a petition is a pre-trial action that legal teams use to gather information ahead of filing a full-on lawsuit.
On X, formerly Twitter, music fans are taking shots at Drake for pulling the petition. We’ve got those reactions below.
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Photo: Getty
Universal Music Group and Amazon Music have expanded their global partnership, embracing “Streaming 2.0” as both companies aim to enhance artist-to-fan engagement through exclusive content with UMG artists, innovative product opportunities and increased fraud protection.
The partnership will explore new and enhanced product opportunities, including advancements in audiobooks, audio and visual programming and livestreaming content. UMG and Amazon Music will also collaborate to combat issues such as unlawful AI-generated content, fraud and misattribution, ensuring the integrity of creative works.
“We are very excited to advance our long-standing, excellent partnership with Amazon Music that marks a new era in streaming — Streaming 2.0,” said Sir Lucian Grainge, chairman & CEO of UMG. “We appreciate Amazon Music’s deep commitment to the interests of our artists, and look forward to progressing our shared artist-centric objectives through product innovation and accelerating growth of their service.”
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UMG laid out its Streaming 2.0 strategy — focusing on innovation, consumer segmentation, geographic expansion and higher average revenue per user (ARPU) — at the company’s capital markets day gathering in August. UMG plans to grow subscriptions in developing markets, where subscribers significantly boost ARPU. Additionally, UMG aims to attract audiobook listeners and satellite radio subscribers to convert them into music streaming users, leveraging these new audiences to drive further growth.
Steve Boom, vp of audio, Twitch and games for Amazon, noted that the expanded partnership would redefine streaming services by introducing more artist-to-fan connections through innovative products and exclusive content. “We’re thrilled to expand our relationship with UMG which will enable us to partner on meaningful new ways for artists to deepen their engagement with fans around the world, while working together to protect the work of artists, songwriters and publishers,” he said.
UMG has partnered with several AI technology companies to enhance artists’ creative and commercial opportunities while ensuring ethical practices. These collaborations include YouTube/Google, ProRata.AI, Endel, SoundLabs and BandLabs, among others.
The two companies expanded their working relationship in 2022 as well, providing Amazon Music and Twitch users with greater access to UMG content, including live streams, spatial audio, artist merchandise and other exclusive experiences.