Atlantic Music Group has launched Atlantic Outpost, a singer/songwriter-oriented label rooted in country and Americana music, Billboard has learned.

The imprint, which will be based in Los Angeles and Nashville, will be co-run by Jeff Levin and Ian Cripps. Levin retains his role as co-head of pop and rock A&R for Atlantic (with Brandon Davis), while Cripps continues as executive vp of A&R at Atlantic.

News on Atlantic Outpost signings and Nashville hires is forthcoming.

Levin and Cripps have already been operating in the country space, including helping coordinate Bailey Zimmerman’s feature on BigXthaPlug’s “All the Way,” which debuted at No. 1 on Billboard’s Hot Country Songs chart in April. (Zimmerman, who has a new album coming Aug. 8, is signed jointly to Warner Music Nashville and Atlantic). Burgeoning Atlantic country artist Sam Barber’s 2024 debut album, Restless Mind, has been certified gold by the RIAA, and Cripps received a Grammy nomination as soundtrack compilation producer for Atlantic’s soundtrack for Twisters. The country set which debuted at No. 7 on the Billboard 200, featured 29 original tracks from such acts as Luke Combs, Zimmerman, Lainey Wilson, Megan Moroney, Tyler Childers and Charlie Crockett and was the first country soundtrack to debut in the top 10 on the all-genre chart since 2011.

Additionally, Atlantic has a robust roster of country-leaning and Americana acts, that, in addition to Zimmerman and Barber, includes Willow Avalon and Cameron Whitcomb.

The move comes as Los Angeles and New York-based labels continue to invest time and manpower in Nashville and the booming country space. In May, Los Angeles-based Capitol Music Group launched Capitol Records Nashville under former Big Loud executive Candice Watkins. In April, Los Angeles-based Interscope Geffen A&M (IGA) Records relaunched the iconic Lost Highway imprint in Nashville under former Thirty Tigers executive Robert Knotts and former Universal Music Group Nashville executive Jake Gear. 

Additionally, New York-based Mercury/Republic has linked with Nashville-based Big Loud for distribution as well as a partnership for country superstar Morgan Wallen, while BBR/BMG and Republic paired to jointly release Jelly Roll’s last album. Additionally, last fall Warner Music Nashville (WMN) was moved under the Warner Records umbrella, with WMN co-chairs/co-presidents Cris Lacy and Greg Nadel reporting to Los Angeles-based CEO/co-chairman Aaron Bay-Schuck and COO/co-chairman Tom Corson. Warner Records is home to country-rock acts Zach Bryan and Warren Zeiders.

Atlantic Music Group representatives did not immediately respond to a request for comment.

After 16 years, the long wait was finally over: on July 11, Clipse — the hip-hop duo composed of brothers Pusha T and Malice — returned after 16 years with their highly anticipated fourth album, Let God Sort Em Out. And now the numbers are in: with 118,000 equivalent album units in its first week, Let God Sort Em Out represented the group’s biggest first week since their debut album, Lord Willin’, racked up 122,000 album sales in 2002. It was their biggest record in over 20 years, proving that their fans, both old and new, were energized by the release.

The album, musically speaking, was a triumph of two top-tier MCs still at the top of their game riding unparalleled chemistry and classic music to climb back to the top of the hip-hop game. From a business perspective, it represented a rollout that reminded a lot of hip-hop fans of the more creative, innovative campaigns of years ago, combining well-placed press; clever brand, art and fashion collaborations; and a dedication to what made the group so great in the first place. And it delivered, with a huge first week that saw the album debut at No. 4 on the Billboard 200, matching the peak of Lord Willin’‘s debut all those years ago. And that helps Clipse’s Victor Victor co-manager Kevin McMullan earn the title of Billboard’s Executive of the Week.

“Kevin was key in helping us educate and train fans on what a modern Clipse rollout could be,” Pusha T tells Billboard. “From the music — he was the one who suggested asking John Legend to cut ‘Birds Don’t Sing’ — to the timeline, collaboration and press curation, he was in perfect sync with the group every step of the way. We couldn’t have done it without him representing the group’s taste and tone so seamlessly to our team of playmakers at Roc Nation. The success of the project depended on having someone who could connect the dots and build a trustworthy bond with our new partners, and Kevin was exactly that person.”

Here, McMullan discusses his role in the Clipse rollout, the idea behind the comeback presentation and balancing new fans versus old. “The success of Pusha’s solo career allowed Clipse to be introduced to a considerably younger audience, so I’m not sure we are ever overtly concerned with catering to the old fans vs. the new,” McMullan says. “This project is for both.”

This week, Clipse’s comeback album Let God Sort Em Out debuted at No. 4 on the Billboard 200 with 118,000 equivalent album units, the duo’s best mark since their 2002 debut Lord Willin’. What key decisions did you make to help make that happen?

It was an amazing team effort. Pusha and Malice have a vision, and it’s the team’s job to execute. Our partners at Roc Nation, Titol, our publicist Gabe Tesoriero, our agent Cara Lewis and the entire team’s collective effort contributed to making this impressive rollout, tour and chart debut happen. 

Pusha and Malice are incredible artists that were both very hands on in how they wanted to present their return as a group. It’s my job to ensure their vision is executed to the highest degree with the team we assembled. Early in the process, we were all clear on the importance of creating a visual identity for the album. Secondly, we wanted to make sure we were able to tell the story by offering exclusive product that was both connected to Clipse and to hip-hop culture as a whole, which is what I think really makes this album campaign stand apart from others.

Co-manager Steven Victor told Billboard that the rollout plan for this album was done a year ago. When did you first get started, and what were the first steps you took?

We started as early as fall 2023. The first order of business was, how do we create a visual world for Clipse in 2025? Who can help bring this music to life visually?  

All of the ideas for this project were born out of constant creative conversation as Pusha and Malice were working on the music. When the music started taking shape, it was easy to identify which songs we would need visuals for. We spent a great amount of time researching who could be the best fit for each song. We wanted specific directors to work on specific songs. 

What was the main idea you guys wanted to get across when presenting this comeback album to the fans and the public?

Pusha and Malice have put it perfectly throughout the entirety of the press campaign — fundamentals do not go out of style. The guys worked really hard at crafting this album — it would be a disservice to not make the music the focal point of the entirety of our campaign. We made sure everyone we partnered with, whether it was art, clothing collaborations or interviewers, shared a similar passion in the power of the music. Taste and tone were and always will be the key.

This project also involved several key brand and art integrations. How did those come together, and which did you feel were particularly impactful?

It was a familial affair in every instance. Very early on, it was important for KAWS to be involved in the project. I saw a tweet that said something along the lines of, “How fitting the same artist that put Clipse to rest with Til the Casket Drops, is involved with their resurrection with Let God Sort Em Out.” I thought that was a perfect summation of what we were trying to achieve. 

From Tremaine [Emory] at Denim Tears to Verdy, Josh Sperling, our partners at Adidas, Billionaire Boys Club and Carhartt W.I.P., it was important to showcase Clipse’s journey and how they are still rooted in streetwear, art and fashion cultures, even 16 years later. 

I can’t pinpoint which was particularly most impactful — I have gotten feedback from all different corners of the world reacting to the collaborations. That’s the ultimate reward, because only Clipse could assemble this cast.

What challenges did you guys face in rolling out this album?

The ultimate challenge was the stop-and-start nature. It was frustrating to have a great body of work and then be handcuffed when it came time to execute. The obstacles with previous partners ultimately led us to our collaboration with Roc Nation — a silver lining that proved pivotal in moving forward.

Roc has been great to work with because of their maneuverability and their understanding of the importance of putting their artists’ vision first. When we were having sample issues with “So Be It,” we were keen on fans hearing the song the way it was originally recorded, thinking we were ultimately going to have to change the production, [so we released] it via social media first. I called [Roc Distribution president] Krystian Santini — he was immediately supportive and didn’t question our approach. It was a breath of fresh air hearing, “Let’s do it.”

This was their first album in 16 years. To what extent do you balance nostalgia for when Clipse first came out, vs. the excitement of the new and current version of the group?

Nostalgia was terminology we wanted to stay away from from the onset. That was faux pas. This wasn’t meant to be a farewell tour celebrating the “highs of yesteryear.” We did not want anyone to look at Clipse and say, “Look how great they once were.” We wanted to showcase that Clipse can compete in 2025, that hip-hop doesn’t have to “age out” and that the music they make can be both pure and commercially viable. 

One thing we have been able to see over the past few years during Pusha’s solo albums is the wide array of fans that this music reaches. Our shows are a hodgepodge of different backgrounds. The success of Pusha’s solo career allowed Clipse to be introduced to a considerably younger audience, so I’m not sure we are ever overtly concerned with catering to the old fans vs. the new. This project is for both. 

What did you learn from working on this project that you can apply to future work in the music business?

Resilience.

Slipknot are marking 25 years of chaos. The masked metal pioneers have announced Slipknot (25th Anniversary Edition), a deluxe reissue of their 1999 self-titled debut album, out Sept. 5 via Roadrunner Records.

The expanded set boasts 59 tracks — including 40 previously unreleased demos, alternate mixes and live recordings — spread across six LPs, and comes with new artwork, rare imagery from the band’s personal archives, and nine collector photo cards.

Ahead of the anniversary release, the band have shared an unreleased demo of “Prosthetics,” recorded prior to their sessions at Indigo Ranch with producer Ross Robinson. The raw version showcases an early take on the track, which later evolved into one of the record’s most sinister cuts.

A limited edition run of 100 “blood-filled” vinyl copies was released to fans via the band’s secret site, 742617000027.net, selling out in seconds and crashing the website. The general 6LP box set features blood-splattered vinyl (limited to 1,899 copies), with additional formats including a 2LP, 2CD and digital versions also available.

Among the rarities included are the legendary Indigo Ranch mixes, early demos of key tracks like “Wait and Bleed” and “Spit It Out,” and alternate mixes from Jay Baumgardner and Ulrich Wild. The live material captures Slipknot’s explosive rise in real time, including a 1999 show in Hartford, Connecticut and several massive 2000 performances in the UK and Iowa.

“We loved what we did with the first record but we didn’t even know if there was gonna be anything after that,” guitarist Jim Root recalled. “We just wanted people to hear it. Selling out of records and shows, having successful tours — those are goals for any band. But the dream scenario in some ways, came true for us.”

Released in June 1999, Slipknot became an unexpected cultural force, going double platinum and redefining the boundaries of heavy music. It introduced the world to the band’s now-iconic nine-member lineup, frenetic visuals, and genre-defying sound. In the years since, Slipknot have racked up more than 30 million record sales, 14 platinum certifications, 40 gold, a Grammy win, and headline slots at the world’s biggest festivals.

Founding member Shawn “clown” Crahan added: “Every time I’ve walked on stage, it’s never been about how many people have been there because my culture, the maggots, always show up.”

The band’s 25th anniversary celebrations also included the sold-out Here Comes The Pain world tour, which featured a homecoming set at Knotfest Iowa and throwback-heavy setlists honoring their debut era. You can pre-save the album here.

As the world mourns the loss of Ozzy Osbourne, a new petition has been launched to provide a fitting tribute by renaming an airport in his honor.

Osbourne passed away on Tuesday (July 22) at the age of 76, just 17 days after making his final appearance as part of the Back to the Beginning concert in his hometown of Birmingham, England.

It’s Birmingham where U.K. podcaster, comedian, and radio host Dan Hudson has set his sights, launching a new petition to have Birmingham Airport renamed for Osbourne.

“Ozzy Osbourne was the most important musician ever to hail from Birmingham,” Hudson’s petition explained. “He rose to fame as the lead vocalist of the pioneering rock band Black Sabbath, who invented the genre of heavy metal.

“Ozzy’s influence on music and culture is undeniable. Naming our international airport after him would be a fitting tribute to his extraordinary career and contributions to the arts.”

As Hudson points out, other famous U.K. identities have found themselves with airports named after them, including footballer George Best in Belfast, Northern Ireland; and The Beatles’ John Lennon in Liverpool, England. 

Internationally, other musicians have also been given a similar honor, including Louis Armstrong in New Orleans; Wolfgang Amadeus Mozart in Salzburg, Austria; and Ástor Piazzolla in Mar del Plata, Argentina.

“It is only right that we do this here in Birmingham, in honour of Ozzy,” Hudson adds. “Together, we can celebrate the legacy of Ozzy Osbourne and the incredible influence our city has had on the world stage, thanks to him.”

At the time of publication, the petition has just exceeded 10,000 verified signatures, though it’s unclear how many – if any – will be enough to kickstart the renaming process.

In June – just six days before Osbourne’s final concert – the founding members of Black Sabbath were awarded the Freedom of the City of Birmingham. 

“This is a great working class city, and we’re all working class, from Aston,” said bassist Terence “Geezer” Butler in a statement. “We weren’t given a chance when we started out, but Birmingham has always been behind us.”

The nascent recognition was far from the first time that Birmingham has recognized the continuing impact of Black Sabbath. In 2019, Birmingham named both a bench and a bridge after the band. 

In April 2024, Osbourne stated his desire to visit the bench, claiming he would do so “if I have to crawl there.” It’s unknown, however, if he ever did so before his passing.

Irish rap group Kneecap will not be performing in Hungary next month, with the group now banned from the country for allegedly posing “a national security threat.”

Hungarian politician and spokesperson Zoltán Kovács announced the ban on social media on Thursday (July 24), explaining that the group’s planned appearance at Budapest’s Sziget Festival on Aug. 11 would not be going ahead.

“Kneecap are officially banned from entering Hungary—for antisemitism and glorifying terror,” Kovács stated. “When hate ignores the mail, we put it on a wall.”

“Kneecap’s members repeatedly engage in antisemitic hate speech supporting terrorism and terrorist groups,” he wrote in a follow-up statement. “Hungary has zero tolerance for antisemitism in any form.

“Their planned performance posed a national security threat, and for this reason, the group has been formally banned from Hungary for three years. If they enter, expulsion will follow under international norms.”

Kneecap themselves responded to the band with a statement hours later, apologizing to the “tens of thousands of fans who we were buzzing to see in person at Sziget.”

“The authoritarian government of Viktor Orban say we ‘pose a national security threat,’” the group wrote. “Which is f–king outrageous coming from a man who welcomed Netanyahu, a wanted war criminal, like a hero just a few weeks ago.

“There is no legal basis for his actions, no member of Kneecap has ever been convicted of any crime in any country. We stand against all hate crimes and Kneecap champions love and solidarity as well as calling out injustices where we see it.

“It’s clear this is political distraction and a further attempt to silence those who call out genocide against the Palestinian people,” they added.

Kneecap’s ban from the country takes place in the wake of their headline-generating actions of recent months, with the trio having gained greater attention following their appearance at Coachella in April. The group projected strong anti-Israel sentiments during their set – sentiments which they had claimed were censored during their first weekend appearance.

“Israel is committing genocide against the Palestinian people,” the projected messages read. “It is being enabled by the U.S. government who arm and fund Israel despite their war crimes. F–k Israel; free Palestine.”

While they would also gain similar attention for their performance at the Glastonbury Festival in June, and would be removed from the lineup of Scotland’s TRNSMT Festival, the group have also faced legal issues. Most notably, member Mo Chara (born Liam Óg Ó hAnnaidh) was recently charged for allegedly showing support for militant organizations Hamas and Hezbollah – both of which are defined as terror groups by U.K. law – in resurfaced videos from a past concert

Chara appeared at Westminster’s Magistrates Court on June 18, where he was released on unconditional bail and set a hearing date of Aug. 20.

“Much like the good people of Budapest, who defied their own President’s ban on their ‘Pride Parade’ in June, we will fight on for what is right,” Kneecap promised in closing their latest statement.