Madonna, Shakira and BTS will perform during halftime of the World Cup final game, Global Citizen announced first thing Thursday (May 14).

The Sunday, July 19, match at MetLife Stadium in East Rutherford, New Jersey, will mark the first time the FIFA World Cup final has ever featured a halftime show. Billboard understands that the show will clock in at 11 minutes.

The news was announced in a social video starring Coldplay’s Chris Martin alongside Sesame Street‘s Elmo and Cookie Monster, as well as Kermit, Miss Piggie and more from The Muppets. The unlikely crew even calls up BTS on FaceTime in the video — watch below.

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Shakira’s name had already been linked to this year’s World Cup – hosted in North America, with tournament games across the United States, Canada and Mexico – with the announcement of “Dai Dai,” her official 2026 World Cup song with Burna Boy. It will be Shak’s second official FIFA World Cup song following “Waka, Waka (This Time for Africa)” recorded for the 2010 World Cup in South Africa. The Colombian superstar kicks off her Las Mujeres Ya No Lloran World Tour in June, with July 14 and July 20 in New Jersey and New York, respectively, surrounding the World Cup final at MetLife.

Madonna is also gearing up for a busy July, with the Queen of Pop’s Confessions II album – the sequel to her 2005 classic Confessions on a Dance Floor – arriving July 3. She’s so far released lead single “Bring Your Love,” her duet with Sabrina Carpenter, which they live-debuted during weekend 2 of Coachella last month, as well as “I Feel So Free.”

BTS made a major return to music earlier this year with the March 20 release of their sixth studio album ARIRANG, the Korean group’s first project since they went on hiatus for each member to complete their military service. The album debuted atop the Billboard 200 and stayed there for three straight weeks – their first multi-week No. 1 on the chart. Last month, they kicked off their ARIRANG WORLD TOUR in Goyang, South Korea, before bringing the trek to the U.S. on April 25. They have international dates scheduled through next March.

The 2026 FIFA World Cup final halftime show is being curated by Global Citizen along with Coldplay’s Martin, with plans to raise money for children’s education on the massive stage. The advocacy organization and Martin similarly teamed up for last year’s Club World Cup final halftime show, which was headlined by Doja Cat, J Balvin and Tems.

Last week, FIFA announced that Katy Perry, Future, Tyla, LISA and Anitta are slated to perform during the 2026 World Cup opening ceremonies set for the U.S., Canada and Mexico. Perry will headline the opening ceremony in Los Angeles ahead of the U.S. men’s national team’s first game against Paraguay on June 12. Future will also take the SoFi Stadium stage for a performance along with DJ Sanjoy.

While this marks the first time the World Cup final has had a halftime show, two of the July performers have previously headlined the Super Bowl halftime show; Madonna took center field at the 2012 Super Bowl, while Shakira co-headlined with Jennifer Lopez in 2020.

SYDNEY, Australia — BMG snaps up Jet’s music publishing interests, in a pact that keeps the ARIA Hall of Fame-inducted band’s rights under the same roof.

Announced Wednesday, May 13, the independent music company has completed a transaction that covers the publishing interests of three of the four original Jet members, including Nic Cester (vocals/guitar), Cam Muncey (vocals/guitar) and Mark Wilson (bass guitar). Founding drummer Chris Cester isn’t currently with the band.

The arrangement expands on BMG’s long-term publishing relationship with the rockers, and follows the 2023 purchase of their recordings catalog, described at the time as a “landmark deal.”

Financial terms were not disclosed.

“We’ve loved working with BMG,” says frontman and co-founder Nic Cester, “and we’re excited to extend that partnership to the publishing side, so these songs can keep finding new audiences in the years ahead.”

Formed in the late 1990s, Jet’s career took flight in the early 2000s, part of a wave of border-crossing bands from Down Under that included The Vines and Avalanches.

Since then, the group has released three studio albums, all of which cracked the top 40 on the Billboard 200: Get Born (peaking at No. 26 in 2003), Shine On (No. 16 in 2006) and Shaka Rock (No. 27 in 2009). The first of those, Get Born, is certified nine-times platinum in Australia, won six ARIA Awards, and is recognized as one of the top five best-selling Australian rock albums of them all.

Included in the pact are such Billboard Hot 100 hits as “Look What You’ve Done” (peaking at No. 37), “Cold Hard Bitch” (No. 55) and Jet’s signature song “Are You Gonna Be My Girl,” which peaked at No. 29 on U.S. singles chart and was synced to the iconic 2004 Apple iPod campaign.

Career record sales top 6.5 million records worldwide, according to a statement from BMG.

“There are few Australian bands with songs as internationally recognizable as Jet,” comments Heath Johns, president, Australia, New Zealand and Southeast Asia, BMG, who negotiated the deal. “Jet was the Australian export story of the early 2000s, carrying the torch for a new generation of rock ’n’ roll storytellers. Jet’s enduring success is illustrated on stage at festivals and headline shows around the world, on radio, across streaming, and through a global sync track record of the rarest order. BMG is honored that Jet has placed their faith in us to help ensure these songs continue to find new audiences for many years to come.”

Jet was inducted into the ARIA Hall of Fame in 2023 and continues to tour internationally.

These stars can’t say their BET Awards invites got lost in the mail — Druski is making sure of it.

In a new promo for the 2026 BET Awards, comedian and this year’s host Druski visited the homes of some of the culture’s biggest stars to personally ensure that they know to be at the ceremony. And in true Druski fashion, the sketch comedian made sure to be as extra as possible.

“C’mon now, John,” Druski says as a confused John Legend opens his front door to see the comedian outside his house with a gospel choir in tow. Of course the 13-time Grammy winner had to ask Druski what he was doing there. “I’m hosting the BET Awards!”

“He’s the host!” the choir echos before Druski lets Legend know that the singer is invited to “culture’s biggest night.”

As the choir sings that the awards show will be on June 28, Legend let’s them know that they sound good and dances back into his home. With the first message delivered, Druski is on to the next one: actor and musician Jamie Foxx.

Referencing Foxx’s Oscar-winning film Django Unchained, Druski rolls—or, more accurately, rides—up to Foxx’s abode on a horse. Druski once again shares that he’s hosting “the culture’s biggest night” and that lets Foxx know that the dress code is black suit and tie.

“It’s black suit and tie but can you get your black a— off my street,” Foxx retorts before rejecting Druski’s invite to ride with him on the horse to the awards.

With a mariachi band to back him up, Druski pulls up to Cardi B‘s residence next. There, he learns that Cardi is Dominican, not Mexican. Druski pushes past the cultural mix up and delivers Cardi her personal invite and tells her to “bring the girls out.”

“You know I’ll bring the girls” Cardi replies before thanking Druski and the band. “Thank you, papacitos!”

With that, it’s time for Druski’s final invite. Ditching the horse and musicians, Druski arrives at the house of fellow comedian Martin Lawrence with a huge BET Awards sign and pyrotechnics.

“So you think I got time to get a black suit and tie—” Lawrence begins before Druski cuts him off by reigniting his sparklers. As the sparklers burn, the two scream “June 28th” back and forth at one another before Lawrence retreats into his house and closes the door on Druski.

The 2026 BET Awards will be hosted live on—as Druski ensured he made very clear—June 28 at the Peacock Theater in Los Angeles. Watch the full invitation promo below.

Eladio Carrión secures his seventh top 10 entry on Billboard’s Top Latin Albums chart as his seventh studio album, CORSA, debuts at No. 6 on the May 16-dated ranking. Released on April 30 via Rimas Entertainment, the 15-track album tallied 12,000 equivalent album units in the United States during its first tracking week (May 1-7), according to Luminate.

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Streaming contributes most of the project’s first-week total –that is 12.1 million official on-demand of the album’s songs. The remaining negligible figure derives from album units and track sales. On Top Latin Albums, one unit equals to one album sale, 10 individual tracks sold from an album, or 1,000 paid/subscription tier or 2,500 ad-supported tier of official on-demand audio and video streams for a song on the album.

With its No. 6 debut, CORSA marks Eladio Carrión’s seventh top 10 on the Top Latin Albums chart, all of which have also debuted in the top 10. The American rapper and Latin trap artist last reached the upper ranks with Don Kbrn, which debuted and peaked at No. 3 in April 2025. His strongest showing to date, though, came with Sauce Boyz 2, which bowed at No. 2 and held for 48 weeks on the chart starting December 2021.

CORSA also makes a splash across other album charts. It bows at No. 138 on the all-genre Billboard 200 and at No. 4 on Latin Rhythm Albums. Plus, it debuts on the Independent Albums chart, at No. 19, giving Rimas its second entrance of 2026. The indie label debuted in March with Omar Courtz’s Por Si Mañana No Estoy launched at No. 5. The label has six titles on the latest Independent Albums ranking, as four earlier releases from Bad Bunny join Carrión and Cortz on the list.

Four songs from CORSA debut on Hot Latin Songs, which combines radio airplay, digital sales and streaming data into its formula. Among those, “Ricky Bobby” marks the highest entry, at No. 24 with 1.5 million streams during the tracking week. “Polaroid,” which samples Michael Sembello’s chart-topper “Maniac” (Billboard Hot 100, 1983) follows at No. 25, with “Body” coming in at No. 35, and Daikoku, with Topboy TGR, at No. 37.

Also on a song level, on Hot Latin Rhythm Songs where the above tracks make a top 20 entry, “Impredecible,” with Mora, debuts at No. 23.

Ninajirachi could fill her boots at the 2026 AIR Awards, for which the EDM star and her support cast are shortlisted in 10 categories included the coveted independent album and single of the year.

With the release last year of her debut full-length album, I Love My Computer, the electronic music producer and DJ has been flying high both on the international festivals and awards circuits. Along the way, Ninajirachi (real name: Nina Wilson) nabbed three wins at the 2025 ARIA Awards, won the Australian Music Prize for album of the year, J Awards, the NSW Music Prize for breakthrough artist, and took out second place in the Vanda & Young Global Songwriting Competition for “iPod Touch.” On the live front, she realized a dream by performing at Coachella 2026, with another North American tour to come.

Expect another gold rush at the AIR Awards, to be presented Thursday, July 30 at Adelaide Town Hall, for an invite-only industry event.

Also on the night, Ninajirachi’s label home, Nina Las Vegas’ NLV Records, is shortlisted for independent label of the year, one of the top categories. NLV Records will square off with ABC Music, Astral People Recordings, College Of Knowledge and Mushroom Music.

Other nominees, announced today, May 14, include Teen Jesus And The Jean Teasers, Spacey Jane, Jem Cassar-Daley, Confidence Man, FISHER, John Butler, Keli Holiday, and Stella Donnelly.

Produced by The Australian Independent Record Labels Association (AIR), the awards were first established in 2006 as an effort to “recognize, promote, and celebrate the success of Australia’s Independent Music sector.”

The trophies will once again be handed out on the penultimate evening of AIR’s Indie-Con Australia Conference and A2IM’s Indie Week Australian Edition, presented this year at Mercury Cinema and Nexus Arts from July 29 – 31.

“The South Australian Government is proud to support Indie‑Con Australia and the AIR Awards,” comments minister for arts Kyam Maher MLC, “and to welcome nominees, industry leaders and delegates from across Australia and around the world to South Australia.”

As previously reported, AIR has, for the first time, split its dance and electronic recognition into more clearly defined lanes. A new best independent dance/club single category will spotlight club-driven tracks — including house, techno, trance, drum & bass and garage — with eligibility requiring a DJ service component.

Meanwhile, best independent electronic single fetes electronic releases not designed primarily for club settings, separating festival-floor material from broader electronic artistry.

The category formerly known as best independent dance or electronica album or EP category has been renamed best independent electronic album or EP to align with the updated single framework.

See the full list of AIR Awards nominations below.

Best Independent Blues And Roots Album Or EP
John Butler – Prism
Folk Bitch Trio – Now Would Be A Good Time
Liz Stringer – The Second High
Melbourne Ska Orchestra – The Ballad Of Monte Loco
Sons Of The East – Sons

Best Independent Jazz Album Or EP

Natalie Gauci – Pictures Of Mars
Phia – When I’m Holding You, I’m Holding Me
Temporary Blessings – Sumbisori
The Cat Empire – Bird In Paradise
Touch Sensitiive – In Paradise

Best Independent Classical Album Or Ep

Andrea Lam – Piano Diary
Australian String Quartet – Vanessa Perica, String Quartet No.1 No Feeling Is Final
Joseph Tawadros – The Forgotten Path To Humanity
Rose Riebl – Dust
William Barton, Omega Ensemble – Gift – Our Breath Of Life
Best Independent Children’s Album Or EP

Diver City – Weekend Baby
Emma Memma – Dance Island Party
Justine Clarke – Mimi’s Symphony
Teeny Tiny Stevies – Brain Fart
The Wiggles, The Tree Of Wisdom – The Tree Of Wisdom

Best Independent Country Album Or Ep Emily Lubitz – Two Black Horses
Hayley Jensen – Country Soul
Imogen Clark – Choking On Fuel
Ruby Gill – Some Kind Of Control
Wade Forster – Gooseneck Party

Best Independent Soul/Rnb Album Or EP

Bumpy – Kanana
Cookin’ On 3 Burners – Cookin’ The Books
Don West – Give Me All Your Love
Felivand – My Body’s My True North
Wilsn – Bloom

Best Independent Pop Album Or EP

Georgia Knight – Beanpole
Montaigne – It’s Hard To Be A Fish
Stella Donnelly – Love And Fortune
The Tullamarines – Safety Blanket
Way Dynamic – Massive Shoe

Best Independent Rock Album Or EP

Playlunch – Sex Ed
Spacey Jane – If That Makes Sense
Teen Jesus And The Jean Teasers – Glory
The Belair Lipbombs – Again
The Southern River Band – Easier Said Than Done

Independent Marketing Team Of The Year

Mushroom Music – Bliss N Eso, The Moon (The Light Side)
Nlv Records, The Orchard – Ninajirachi, I Love My Computer
Playlunch, Abc Music – Playlunch, Keith
Secretly Group – Folk Bitch Trio, Now Would Be A Good Time
The Annex – Ocean Alley, Love Balloon

Independent Music Video Of The Year

Ball Bass John – Ninajirachi, Fuck My Computer
Bridgette Winten, Folk Bitch Trio – Folk Bitch Trio, Cathode Ray
Claudia Sangiorgi Dalimore – Miss Kaninna, Backstreets
Tas Wilson, James Adams – Jem Cassar-Daley, Kiss Me Like You’re Leaving
Jasper Van Daatselaar – Way Dynamic, People Settle Down

Independent Mix, Studio Or Mastering Engineer Of The Year

Becki Whitton, Timothy Harvey, Hannah Cameron – Ruby Gill, Some Kind Of Control
Leon Zervos – Ocean Alley, Love Balloon
Michael Carpenter – Imogen Clark, Choking On Fuel
Stephen Mowat – Wilsn, Bloom
Thomas Purcell Pka Wave Racer – Ninajirachi, I Love My Computer
 
Breakthrough Independent Artist Of The Year – Presented By PPCA

Folk Bitch Trio
Georgia Knight
Rageflower
Rona.
Yes Boone

Best Independent Hip Hop Album Or EP

Bliss N Eso – The Moon (The Light Side)
Devaura – Vol 1. Learning In Public
Elsy Wameyo – Wameyo
Jamaica Moana – Bud & Deni
Teether & Kuya Neil – Yearn Iv
 
Best Independent Electronic Album Or EP

Essendon Airport – Mor
Mel Blue – No More Jackets Please
Ninajirachi – I Love My Computer
Rona. – It’s All Here (EP)
Shouse – Collective Ecstasy

Best Independent Dance/ Club Single
Confidence Man, Jade – Gossip
DJ Pgz And Yikes – Ouss Ouss
Fisher – Stay
Shouse  – Sunrise
Vv Pete – Wassa Feat. Utility, Formation Boyz

Best Independent Electronic Single

Cosmo’s Midnight – 45
Keanu Nelson – Place Where I Go / Kapi Ngalyananni
Ninajirachi – Ipod Touch
Robert Baxter & Sweatbaby – Icy (Take It Off)
The Superjesus & The Journey – Something Good

Best Independent Punk Album Or EP
Press Club – To All The Ones I Love
Private Function – ¯_(ツ)_/¯
Radio Free Alice – Empty Words Ep
These New South Whales – Godspeed
Wet Kiss – Thus Spoke The Broken Chanteuse

Best Independent Heavy Album Or EP

Battlesnake – Dawn Of The Exultants And The Hunt For The Shepherd
Hands Like Houses – Atmospherics
Npcede – Npcede
The Maggie Pills  – Hearts Induring Lingering Loss
Thornhill – Bodies

Independent Album Of The Year

Folk Bitch Trio – Now Would Be A Good Time
Ninajirachi – I Love My Computer
The 046 – Legacy In Motion
The Belair Lipbombs – Again
Way Dynamic – Massive Shoe

Independent Song Of The Year

Jem Cassar-Daley – Kiss Me Like You’re Leaving
Keli Holiday – Dancing2
Ninajirachi – Ipod Touch
Playlunch – Keith
Way Dynamic – Miffed It

Independent Label Of The Year

ABC Music
Astral People Recordings
College Of Knowledge
Mushroom Music 
NLV Records

Independent Publicity Team Of The Year

Cult Logic – Ocean Alley, Love Balloon
Mushroom Music – Bliss N Eso, The Moon (The Light Side)
Mushroom Music – Wilsn, Bloom
Twnty Three – Folk Bitch Trio, Now Would Be A Good Time
Twnty Three – Ninajirachi, I Love My Computer

Independent Producer Of The Year

Angus Stone – Dope Lemon, Golden Wolf
Benjamin Stewart – Slowly Slowly, Forgiving Spree
Dylan Young – Way Dynamic, Massive Shoe
Nick DiDia – Ocean Alley, Love Balloon
Nina Wilson – Ninajirachi, I Love My Computer

A Los Angeles psychiatry clinic that prescribed Xanax to Aaron Carter has settled with the late singer’s family over his 2022 overdose death.

In court papers filed on Tuesday (May 12) and obtained by Billboard, lawyers say Amen Clinics will pay a “confidential sum” as a “full and final resolution” of the wrongful death claims against both the clinic and one of its psychiatrists, Dr. John Faber. The document says the settlement value is “within the ballpark” of the damages Carter’s family could have won from Amen Clinics at trial, which was less than $325,000.

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Carter drowned in a bathtub at the age of 34 with drugs in his system. His former fiancée later sued on behalf of their four-year-old son, alleging two doctors overprescribed Xanax to the 2000s teen pop sensation, and that two pharmacies wrongly filled the prescriptions without checking to see if Carter was abusing the drug.

Amen Clinics and Faber have not admitted to any wrongdoing as part of the settlement. In Tuesday’s court filing, their lawyers maintain that the clinic complied with all standards of care and that Carter’s death was caused not by Xanax, but by the gas he inhaled from canisters of compressed air (known as difluoroethane).

The other doctor and pharmacies sued in the case — dentist Jason Mirabile, Walgreens and a Santa Monica Medical Plaza Pharmacy — have similarly argued that the amount of Xanax in Carter’s system was not enough to make him lose consciousness. These three defendants have not settled and are set to go to trial in October.

Mirabile’s attorney declined to comment on the case on Wednesday (May 13). Lawyers for the Carter family, Amen Clinics, Walgreens and Santa Monica Medical Plaza Pharmacy did not immediately return requests for comment.

Carter got his start opening for the Backstreet Boys, of which his older brother Nick Carter was a member, in the late 1990s. He later became a teen heartthrob in his own right, and his 2000 album Aaron’s Party (Come and Get It) peaked at No. 4 on the Billboard 200. His next two albums, 2001’s Oh Aaron and 2002’s Another Earthquake, hit No. 7 and No. 18 on the chart, respectively.

Later in life, Carter was open about struggling with substance abuse. The singer did multiple stints in rehab, and he had been attending outpatient therapy in the months leading up to his death.


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Young Thug knows what it’s like to be sitting behind bars awaiting your day in court. Thugger took to X on Wednesday (May 13) with a message in support of Lil Durk, calling for the Chicago rapper’s freedom.

“Free smurk please god,” he wrote.

Fittingly, Brian Steel, the powerhouse attorney who represented Young Thug in his YSL RICO case, filed to join Lil Durk’s legal team in March and represent him in his federal murder-for-hire case.

Steel facilitated a plea deal for 15 years of probation and time served to get Thugger out of jail in October 2024 after the YSL rapper spent over two years behind bars.

“I get very close to my clients. I meet their families,” Steel told Billboard in an interview in March. “Because if I’m going to defend somebody, I gotta be invested. I gotta believe in the person. I gotta make it where if I lose this case, it’s going to ruin my life.”

He continued: “I just want to help people, ethically and zealously. And I don’t want to hurt anybody, and God willing, something good will come out.”

Steel was also part of Diddy’s defense team in April, which saw the embattled Bad Boy mogul sentenced to 50 months in prison for violating federal prostitution laws.

Lil Durk was arrested in October 2024 on murder-for-hire charges, as federal agents apprehended the OTF rapper before they believed he was headed to catch a private flight to Italy.

Durk’s trial was set for April, but has once again been delayed to Aug. 20. Prosecutors allege that Durk plotted to have rival rapper Quando Rondo killed during a Los Angeles shooting in 2022. However, Rondo’s cousin, Lul Pap (Saviay’a Robinson), was killed during the crossfire.

Prosecutors believe that Durk ordered the hit to have Rondo taken out in retaliation for the 2020 killing of rapper King Von (Dayvon Bennett), who was the rapper’s frequent collaborator.

As for Young Thug, the Atlanta native spent last weekend at Rolling Loud Orlando, where Thugger popped out at multiple sets, including Ken Carson’s headlining set to close out the festival.



Universal Music Group is expanding its work in the mental health and wellbeing spaces through new partnerships with Amber Health and Project Healthy Minds.

Through a combination of partnerships and programs, announced today (May 13) by the music giant, UMG intends to improve access to care within its creative community.

By partnering with Amber Health, UMG’s artists and songwriters in North America will have 24/7 access to a range of mental health services, including clinical expertise, including crisis response, care planning, and specialized referrals. Also, UMG will work with the organization to provide additional behavioral health support to the music major’s employees in the United States and Canada, which will include access to expanded mental health support and resources. 

Additionally, UMG signs up as a founding member of Project Healthy Minds’ workforce mental health research initiative, becoming the first music company to do so. Through that alliance, UMG cements its commitment to the development of a standardized framework to measure workforce mental health and its correlation with organizational performance, a statement reads. Through a collaboration with academic partners, including Harvard Business School, this project is meant to establish data-driven benchmarks and inform best practices across industries.

“Through our strategic partnerships with organizations like Amber Health and Project Healthy Minds — and our continued investment in groundbreaking programs like Music Health Alliance’s Music Industry Mental Health Fund,” says Susan Mazo, UMG’s chief impact officer, in a statement, “we are working to redesign how our industry supports wellbeing. Our focus is on expanding access to care, reducing stigma, and ensuring that our artists and songwriters, employees, and the broader music community have the resources they need to thrive.” 

The partnership, notes Dr. Chayim Newman and Zack Borer, co-founders at Amber Health, represents “a real shift in how labels support their artists. Together with UMG’s corporate and label leadership, we’re embedding quick access to specialized mental health care directly into the labels’ infrastructure, making it proactive rather than an afterthought. We couldn’t be prouder of this work, or the message it sends to the rest of the music industry.”  

Adds Phil Schermer, founder and CEO, Project Healthy Minds: “Music has always been a vehicle for mental health conversations and now Universal Music Group is bringing that same honesty inside its own walls. When a company of UMG’s reach commits to this, the whole industry pays attention.” 

UMG turned talk into action in February 2025, by partnering with Nashville-based non-profit Music Health Alliance on the Music Industry Mental Health Fund, which provides comprehensive, high-quality outpatient mental health resources for music industry professionals across the United States. That alliance builds upon the healthcare access program launched by UMG and MHA in April 2021.

Also last year, UMG and Apple Music globally launched Sound Therapy, a wellness collection designed to help listeners reach for clearer focus, deeper relaxation, and better sleep.

Thanks to isolation, travel, late nights and other factors, creatives and the industry professionals that support them are often at the frontline when it comes to mental health issues. The struggles are real. A study by Swedish digital distribution platform Record Union, published in 2019, prior to the pandemic, found that upwards of 73 percent of independent music makers reported the symptoms of mental illness. Separately, the Mental Health and Wellbeing Survey 2024, released by Australia’s music industry charity Support Act, found that 53.5% of Australian music and creative workers face high or very high psychological distress, with north of 68% citing high cost of living as a major issue.

UMG continues to work with existing longstanding partners including Mental Health Coalition (MHC) to highlight the resources and research-backed ways that music can support mental health. 

The late, disgraced Australian entertainer Rolf Harris is the subject of a new two-part documentary, commissioned by the Australian Broadcasting Corporation.

The film, Rolf Harris: Primetime Predator, will debut Tuesday, June 9, and will feature interviews with survivors who’ve never before spoken publicly of his crimes. The series is said to capture the full story of Harris’ double life, charting his rise from suburban Perth, Australia to the heights of fame and influence in the United Kingdom, while revealing the pattern of abuse that unfolded behind the scenes for decades.

Prior to his downfall, Harris was a popular figure on TV, the airwaves, and charts across the U.K., the U.S. (“Tie Me Kangaroo Down, Sport” hit No. 3 on the Billboard Hot 100 in 1963) and his homeland, Australia. In the mid-2000s, he was once commissioned to paint Queen Elizabeth II, a sitting that was turned into a documentary.

His U.K. chart hits included “Two Little Boys” (Columbia), which has the distinction of being the very last No. 1 in that market in the 1960s. “Tie Me Kangaroo Down, Sport” reached No. 9 in the U.K. back in 1960, and he had a No. 3 hit with “Sun Arise” in 1962. Decades later, in 1993, he enjoyed another U.K. top 10 appearance, when his cover of “Stairway to Heaven,” a spin-off from the Australian TV show Money or the Gun, reached No. 7.

Harris’ spectacular fall from grace began in 2013, when he was questioned and arrested police under Operation Yewtree, the investigation into sexual abuse among members of the English media elite, including the late Jimmy Savile. Following a trial in 2014, Harris was found guilty of various indecent assaults on women and young girls between 1968 and 1986, and was sentenced to five years and nine months in prison. He was released in 2017, but denied any wrongdoing and never issued an apology to his victims.

He died in 2023 at the age of 93. “In the years since, the silence that once protected him has begun to lift,” reads a statement from the ABC, announcing the new series, which “gives voice to those who were previously unable to, as they share their experience on their own terms.” Harris’ death “has finally lifted a veil of fear once cast by this powerful figure, and survivors who long feared retribution are at last able to speak.”

Prior to the Yewtree investigation, Harris moved within the highest circles in Britain, his adopted home. Along the way, he was named as Officer of the Order of the British Empire (OBE), a Member of the Order of the British Empire (MBE) and a Commander of the Order of the British Empire (CBE).

It was a similar scenario in his country of his birth, where Harris was appointed an Officer of the Order of Australia (AO) and was inducted into the ARIA Hall of Fame. ARIA has since scratched his name from the record books.

Rolf Harris: Primetime Predator will air 8.30pm AEST on ABC TV, with both episodes available to stream on ABC iView.

BRISBANE, Australia — GYRO.Group gears up for its next phase of growth with several leadership appointments, led by experienced digital distribution executive Henry Compton.

Announced Wednesday, May 13, Compton joins as head of APAC for DistroDirect, GYRO.Group’s white-label distribution platform.

Compton boasts more than two decades’ experience across business development, marketing and client relations, most recently serving in senior roles at The Orchard and FUGA, where he spearheaded business development, go-to-market strategy and client acquisition and retention across its Australia and New Zealand activities.

According to the Brisbane-based group, DistroDirect continues to expand its footprint across South-East Asia, having recently signed a number of leading independent music businesses in the Philippines.

Compton is “exactly the caliber of executive we’ve been building towards bringing into the DistroDirect fold,” comments group chief commercial officer Matthew Rogers. “His track record of building and scaling operations in this market is second to none. Having Henry lead that charge in APAC gives us enormous confidence about what’s ahead — both for the partners we serve in those markets and for the Australian artists we want to bring with us.”

In addition, several executives are promoted from within the business. Adrian Burke adds duties as executive vice president of artist services and A&R, having led GYRO.Group’s artist services arm GROUP SPEED since its inception, and working closely with the likes of Dom Dolla, Mariah Carey and Swedish House Mafia.

Meanwhile, Alison Bremner moves into the post of general manager – marketing, with strategic leadership of brand development across the full GYRO.Group portfolio globally; Harry Young is named head of A&R for AU/NZ, after joining in late 2025; Alexandria Thomson is elevated to artist marketing lead for Australasia; Claire Hirayama-Kaarsberg rises to a partner relations manager role within DistroDirect; Alyssa d’Artenay shifts into pitching and artist services management; and Kriza Canzon takes on the expanded role as artist support and compliance.

“The wider team changes,” explains Vivienne Mellish, CMO and co-founder of GYRO.Group, “are a reflection of the growth and ambition of the people in our corner and we couldn’t be prouder to have them with us on the journey.”

With the arrival of Compton, GYRO.Group’s global team numbers more than 70. This year, the label services and digital distribution specialist has bagged five ARIA No. 1 albums, including Keli Holiday’s Capital Fiction and Tom Busby’s Rockhampton Hangover.

“We are doubling down on our investment in Australian artists and in the people and platforms it takes to get them heard globally,” comments Andy Irvine, CEO and co-founder of GYRO.Group. “Our goal is to be the biggest net exporter of Australian music, and every decision we are making right now — who we hire, where we expand, what technology we build — is pointed directly at that.”

The changes closely follow the opening of GYRO.Group’s Latin American office, in Brazil, which opened Friday, March 27, and is led by Samuel Fernandes.

Last year, the group tapped veteran independent music executive Matthew Rogers as CCO, with responsibility for DistroDirect globally. Also last year, a rebranding that saw GYRO.Group gather its music distribution and artist services brands including G.Y.R.O., DistroDirect, GROUP SPEED, Soothe Sounds, and more.