A documentary about pop superstar LISA is currently in production.

The film was announced Thursday (May 29) during a Los Angeles event previewing forthcoming projects by Sony Music Vision.

Created in partnership with LLOUD CO./RCA Records and Tremolo Productions, the film will follow a year in the life of LISA, as she takes time away from BLACKPINK to pursue her own solo career.

The doc is being directed by Sue Kim, whose recent work includes A24’s award-winning documentary The Last of the Sea Women and the Netflix documentary short The Speed Cubers, which was nominated for Critics Choice and Peabody awards and was shortlisted for an Academy Award. Kim was also an executive producer on the docuseries K-Pop Idols.

“Following LISA on this transformative and thrilling year has been a true honor and a cinematic gift,” Kim says in a statement. “There have been so many moments on her journey that I think will surprise people and give a glimpse into her world that no one’s ever seen before. I’m excited for viewers to watch the film and witness this extraordinary moment in her life.”  

“This has been such an incredible year, and I’m so lucky to have the opportunity to capture these special moments on film and share the experience with my fans,” LISA adds. “Working with Sue Kim has been such a joy. We’ve been all around the world together and I know this is just the beginning of many more exciting things to come.”  

Thursday’s event debuted clips of the LISA film, including her 2025 debut solo performance at Coachella and her at home in Thailand. During a conversation about the doc, Kim revealed that the film will focus on showing the superstar in her offstage moments.

The event also included previews of forthcoming documentaries on Barbra Streisand, Oasis and Elvis Presley, with director Baz Luhrman taking part in a conversation on the Elvis doc, the follow-up to his 2022 feature film ELVIS.

The new documentary is called EPiC: Elvis Presley in Concert. Speaking on the film, Luhrmann said that “During the making of ELVIS, we went on a search for rumored unseen footage from the iconic 1970s concert films Elvis: That’s The Way It Is and Elvis on Tour. My initial thought was that we may be able to restore the unused footage (if we could find it) and use it in our Elvis feature, starring Austin Butler.

“I had researchers go into the Warners Bros. film vaults buried in underground salt mines and, to the astonishment of all, we uncovered 68 boxes of film negative, as well as unseen 8mm footage,” the acclaimed director continues. “It has taken two years to restore the footage to a quality that it has never been projected at previously, while the team had to meticulously claw back sound from the many, unconventional sources that were also unearthed. One of the great finds has been unheard recordings of Elvis talking about his life and his music. It was this that gave the inspiration for EPiC: Elvis Presley in Concert.

Luhrman adds that the film is “not specifically a documentary, nor a concert film: Elvis takes the audience through the journey of his life, weaving never-before-seen footage with iconic performances that have never been presented in this way, from the 1970 Vegas show, on tour in 1972 and even precious moments of the 1957 ‘gold jacket; performance in Hawaii. Most importantly, Elvis will sing and tell you about his life in first person, through both classic and contemporary musical prisms.”  

See a preview of this new footage below.

HarbourView Equity Partners has acquired part of Grammy Award-winning songwriter/producer Rodney “Darkchild” Jerkins‘ royalty catalog, the Newark, N.J.-based entertainment company said on Thursday (May 29).

The deal was facilitated by Chapter Two, a Stockholm-based tech company that gathers royalty data for catalog buyers and sellers to forecast future income and speed up the due diligence process. With backing from Swedish House Mafia‘s DJ Axwell and Sebastian Knutsson, one of the founders of the mobile phone gaming company King, Chapter Two has also facilitated acquisition deals for music rights to tracks by Lil Nas X and BTS.

Jerkins, who was inducted into the Songwriters Hall of Fame earlier this year, is known for co-writing and producing Destiny’s Child‘s “Say My Name,” which won a Grammy for Best R&B Song in 2000, and producing Sam Smith’s “Stay With Me,” which won the Record of the Year Grammy in 2014. His list of hit songs also includes “Telephone” by Lady Gaga featuring Beyoncé, “Déjà Vu” by Beyoncé featuring Jay-Z, Brandy and Monica‘s “The Boy is Mine,” Justin Bieber’s “As Long As You Love Me, and H.E.R.’s “Hard Place.”

Terms of the deal were not disclosed, and HarbourView did not specify which songs were included in the acquisition.

Led by Sherrese Clarke and launched in 2021, HarbourView has acquired some 75 catalogs comprising 41,000 songs from artists like T-Pain, Luis Fonsi, Kane Brown and Wiz Khalifa. As of Dec. 31, HarbourView, which also has stakes in production companies MACRO and Mucho Mas Media, had $2.67 billion in regulatory assets under management.

HarbourView’s legal counsel for the deal was Fox Rothschild, while Jerkins was represented by Pamela L. Klein of Rossi Baldivia Klein Fine & Spector, P.C.

CISAC, the international trade organization for copyright collecting societies, has a new Chair, with APRA AMCOS CEO Dean Ormston elected into the role.

Announced on Thursday (May 29), Ormston is only the second Australian to hold the title in CISAC’s 99-year history, with his APRA AMCOS predecessor Brett Cottle having previously served in the role from 2006 until 2010.

Ormston brings more than two decades of experience in the fields of music rights management, policy and advocacy to his new appointment. Since 2018, he’s served as the CEO of Australia and New Zealand’s music rights management organization APRA AMCOS, which represents more than 124,000 songwriters, composers and publishers.

“Being elected Chair of the CISAC Board at such a pivotal moment for creators worldwide is an honour,” Ormston said in a statement. “As the creative economy enters a new era shaped by AI and global digitalisation, the opportunity to secure a fair and thriving future for creators has never been greater.

“Creators are central to the cultural, social and economic fabric of every nation. Each country has a responsibility to nurture its own cultural voices by ensuring a strong copyright framework and enabling creators to share in the value generated by innovations such as Generative AI.”

Ormston’s noted focus on ensuring a fairer future for creatives in the current AI-focused climate comes just over a year after he was named as one of the 20 leaders from the creative industries and academia invited to join the Steering Committee of the Attorney-General’s Copyright and Artificial Intelligence Reference Group (CAIRG).

APRA AMCOS have themselves been noted voices in the Generative AI debate, releasing their AI and Music report in August 2024 which focused on the benefits and concerns facing creators in Australia and New Zealand. Meanwhile, CISAC performed their own global study in December which re-iterated international calls for credit, consent and fair remuneration for songwriters and composers.

As newly-elected Chair of CISAC, Ormston takes over from Marcelo Castello Branco, the CEO of Brazil’s UBC, who has occupied the role for six years. Ormston is joined by Jennifer Brown, CEO of Canada’s SOCAN, who has been re-elected for a second term as Vice-Chair, and VG Bild-Kunst director general Urban Pappi, who has been elected as Vice-Chair for the first time. 

Founded in France in 1926, CISAC has been presided over by Swedish singer, songwriter, and ABBA co-founder Björn Ulvaeus since 2020, taking over from French composer Jean Michel Jarre after he had spent a seven-year stint in the top job.

“CISAC’s global network is uniquely positioned to amplify the voice of these creators to decision-makers across the world,” Ormston added. “I look forward to working with the new Board and the entire CISAC community to champion creators’ rights, further develop our services, and empower societies and their members to lead in this rapidly changing global market.”

Radiohead frontman Thom Yorke has unveiled a new song, with “Dialing In” serving as the theme to Apple TV+’s forthcoming series Smoke.

Released on Wednesday (May 28), and recorded with Sam Petts-Davies, the haunting track presents a dark and brooding atmosphere as Yorke’s trademark vocals warmly accompany a tender and eclectic musical bed.

The song also soundtracks the recently-released trailer for Smoke, which – according to a descriptor – follows Taron Egerton and Jurnee Smollett as they “attempt to get as close to the truth as possible—without getting burned.”

For diehard fans, “Dialing In” won’t be an entirely new experience, with its origins being found in Yorke’s unreleased track “Gawpers,” which had been performed during a run of European dates in 2019, but has since evolved before its 2025 release date.

Yorke announced the release of “Dialing In” by noting on social media that the track is “now available to stream on your least crap streaming service.” According to the song’s credits on Tidal, Yorke’s daughter Agnes is also featured as a backing vocalist.

“Working with Thom Yorke was as much an honour for me as working with Clint Eastwood, Martin Scorsese or Richard Price,” said Dennis Lehane, Smoke creator and executive producer. “I’ve somehow been blessed with collaborating with living legends who were also formative influences on my own creative life. Thom is definitely that.

“In addition, he took a basic concept I gave him and delivered a song that perfectly embodies the show and absolutely crushes.”

“Dialing In” is the latest release from Yorke this month, who also released the album Tall Tales, created alongside Mark Pritchard, on May 9.

“Mark sent me a large file of MP3s of ideas during lockdown,” Yorke explained of their long-distance collaboration. “There were so many great ones, I knew straight away that I had to drop what I was doing. It felt very much that I had not been anywhere like this before — both as soon as I put my headphones on and started trying to find the vocals, words and sounds, but also, as it progressed, watching Jonathan [Zawada] respond so freely and spontaneously with all his video and artwork ideas. 

“It was mental, and I feel lucky to have been involved,” he added. “Tall Tales is very important to me. I hope people get it, and get to hear it!”

Listen to “Dialing In” below: