Spotify has partnered with industry mental health nonprofit Backline to launch a global hub of mental health resources as part of their nascent Heart & Soul initiative.
Officially dubbed ‘Heart & Soul, Mental Health for Creators,’ the new partnership sees Backline and Spotify joining forces to launch their Global Mental Health Resource Hub, which aims to serve as a comprehensive support platform for industry professionals around the world.
While Spotify first launched its Heart & Soul initiative in 2018 as a way of providing support and deepening understanding of emotional well-being amongst its employees, Backline first emerged in 2019 to connect industry professionals and their family with mental health and wellness resources.
The new partnership sees Backline now expanding their services beyond U.S. borders for the first time, serving as a response to the growing mental health crisis that affects industry workers – be it artists, touring crew and industry professionals – of all levels and locations.
“Backline is honored to serve as a steward of Spotify’s investment into the creative community,” Hilary Gleason, Backline’s Executive Director & Co-Founder, said in a statement. “Bringing our work to scale is a meaningful way to uplift the well-being of artists all around the world.
“This collaboration is taking these invaluable mental health and wellness resources beyond borders. Music knows no bounds, and now people who make music happen have access to care and a compassionate community. Our work together will help ensure that artists have the resources, support, and stability they need to thrive both personally and professionally.”
The new initiative will see Backline’s expanding their resources worldwide, including an international, multilingual database of trusted music industry and mental health support resources and crisis lines from around the world; an email concierge service that provides one-on-one support to aid individuals in navigating care options and mental health systems in their countries; and access to their free digital guideMind the Music: A Mental Health Guide for the Music Industry.
Additionally, support for songwriters, and access to wellness events are included, as is free therapy access for ambassadors of Spotify’s EQUAL, GLOW, and RADARprograms.
“It’s clear that the mental health challenges artists face are real, and that the current support systems often fall short. It’s on all of us in the industry to respond with action,” noted Monica Herrera Damashek, Spotify’s Head of Artist & Label Partnerships.
“We know this is only one step but we look forward to building on this for a more supported, sustainable environment for the artists who shape culture every day.”
Additionally, Spotify is also providing financial support to expand organizations such as MusiCares, Music Health Alliance, Music Minds Matter, and Noah Kahan’s The Busyhead Project; spotlighting mental health stories from the creative community across Spotify for Artists and Spotify Songwriting; and offering curated playlists, podcasts, and audiobooks to support creators’ wellbeing via the Heart & Soul, Mental Health for Creators hub.
“Heart & Soul is our commitment to the creators behind the music. Artists and songwriters face immense pressure, and their mental health can’t be an afterthought,” added Spotify’s Head of Social Impact Lauren Siegal Wurgaft.
“Supporting creators’ well-being is essential to sustaining a vibrant music ecosystem. By working closely with trusted partners like Backline, we’re not just offering resources, we’re helping drive lasting change in how the industry approaches mental health.”
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After appointing himself chair of the Kennedy Center and replacing its board members with loyalists, President Donald Trump’s first-ever visit to the revered Washington, D.C. cultural center on Wednesday night (June 11) was likely not the warm welcome he expected. Taking his seat for the opening night of Les Misérables, theAssociated Pressreported that Trump was met with a mix of cheers and boos, as well as an unexpected parade of drag queens who sashayed past the first couple, seemingly in protest of Trump’s previous vow of “NO MORE DRAG SHOWS, OR OTHER ANTI-AMERICAN PROPAGANDA.”
In addition, a dozen performers — from major cast members to ensemble performers — planned to sit out the show after being given the option not to perform on the night Trump was in the house to enjoy what he has said is one of his favorite musicals. The show about 19th century France features a song Trump has played at his rallies in the past, “Do You Hear the People Sing?,” a revolutionary anthem inspired by the 1832 rebellion against King Louis-Phillipe of France.
The song’s stirring lyrics about rising up against oppressive regimes has often been employed at pro-democracy protests around the globe, and on Wednesday one patron reportedly shouted “Viva Los Angeles” as Trump left the presidential box for intermission, a seeming reference to the now nearly week-long protests in that city over the administration’s immigration raids.
In his second term, Trump — who admittedly had never attended a performance at the Kennedy Center in his first term, or ever — has swiftly moved to remake the organization in his own image. After installing himself as chairman of the Center, Trump also placed a number of loyalists on the typically non-partisan board and vowed to remove “woke” shows from the roster. Subsequently, nearly two dozen events have been canceled or postponed, a number out of protest at Trump’s takeover, including Hamilton, the National Youth Poet Laureate Commemoration, Saigon Nights, as well as shows by Peter Wolf, Low Cut Connie, Rhiannon Giddens, Issa Rae and many more.
The AP reported that the show that tackles themes of protest, power, injustice and poverty featured the sounds of explosions and gunfire, with civilians clashing with soldiers on stage at the very same time that Los Angeles was put under curfew after protesters battled with police over immigration raids by ICE for a sixth day following Trump’s call-up of Marines and National Guard troops to quell the protests. “Someone explain the plot to him,” California Gov. Gavin Newsom wrote on X.
In March, Vice President J.D. Vance and wife Usha were booed when they attended a performance by the National Symphony Orchestra and the AP also noted that sales of subscription packages have reportedly declined since the Trump makeover. CNNalso reported that while some cheered and clapped for Trump and First Lady Melania Trump as they stood up at the end of the first act, one woman in the orchestra section below shouted, “Felon, you’re a convicted felon!” to the first U.S. president to take the office after being convicted of a felony. The women then added, “Convicted felon, rapist!” before a security guard seemed to escort her out; Trump was found liable for sexual abuse and defamation in 2023 in a suit filed by writer E. Jean Carroll and in 2024 was convicted on 34 felony counts of falsifying business records in an attempt to conceal hush money payments to porn actress Stormy Daniels before the 2016 election.
In addition, as the crowd awaited Trump’s return to his seat, another person reportedly yelled, “F–k Trump! to cheers, while a supportive patron responded with “We love you.” The president seemingly reacted to the comments by pumping his first three times — reminiscent of his response after an assassination attempt last year in Pennsylvania in which a gunman fired at the then-candidate and nicked his ear.
Check out the mixed reaction to Trump’s Kennedy Center attendance below.
At the Kennedy Center, half the theater just started clapping when a group of drag queens showed up to find their seats at opening night of Les Miserables, which Trump, Melania, Vance and their top allies have all come out to see. pic.twitter.com/1WJHsGL987
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Rolling Loud is headed to India. The hip-hop festival – which already has editions in California, Florida and Thailand – will debut its first festival in Mumbai after bringing the signature event to eight other countries. The two-day festival will be exclusively ticketed and produced in partnership with District by Zomato, a discovery and booking app.
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“We never imagined Rolling Loud would take us all the way to India — it’s incredible,” Rolling Loud co-founders and co-CEOs Matt Zingler and Tariq Cherif said in a joint statement. “The hip-hop scene in India has been booming, and bringing the festival to Mumbai felt like the right decision. We’re excited to create a space where Indian fans can celebrate the artists they love, while also introducing international acts to a new audience. For us, it’s always been about building community through hip-hop — and we can’t wait to experience how India shows up.”
The two-day festival in India — which will announce dates and venue at a later time — will feature two distinct stages with elaborate production, plus fans can enjoy a series of local food and drink options, art installations and experiential activations that all tie back to the celebration of global and Indian hip-hop culture. Rolling Loud India promises a spotlight on an array of global superstars and international talent and top and rising Indian hip-hop artists.
“India’s hip-hop scene is on fire right now, it’s raw, it’s real, and it’s ready. Rolling Loud coming to India isn’t just another festival drop; it’s a cultural shift,” District by Zomato CEO Rahul Ganjoo said in a release. “For years, we’ve felt the need to bridge India’s sound with the global stage, and this is that moment. It’s bigger than music, it’s a loud, undeniable signal that Indian hip-hop is here, it’s global, and it’s got something to say. We’re proud to bring this home.”
Since the event was founded in 2015, Rolling Loud has held festivals in New York, Miami, Toronto and Los Angeles, as well as in Australia, Germany, Portugal, The Netherlands, Thailand and Austria. Rolling Loud lineups throughout the last decade have included Kendrick Lamar, Nicki Minaj, Future, Travis Scott, A$AP Rocky, Cardi B, Playboi Carti and more.
Rolling Loud India tickets will go live exclusively on the District app. For more information on talent lineup, ticket details, festival details and more, check the District app and @districtupdates page on Instagram.
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Paul McCartney has paid tribute to the late Brian Wilson, 82, whose death was announced on Wednesday (June 11), calling his songs “achingly special” and that “I loved him.”
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Yesterday, news broke that the Beach Boys leader had died, but a cause and date of death has not yet been announced. A post on Wilson’s official Instagram account wrote, “We are at a loss for words right now. Please respect our privacy at this time as our family is grieving. We realize that we are sharing our grief with the world.”
Tributes have been shared by a number of musical greats who were inspired by Wilson’s songwriting genius, including Bob Dylan, Elton John, Questlove and more.
On his Instagram account on Thursday (June 12), McCartney wrote, “Brian had that mysterious sense of musical genius that made his songs so achingly special. The notes he heard in his head and passed to us were simple and brilliant at the same time.”
He added, “I loved him, and was privileged to be around his bright shining light for a little while. How we will continue without Brian Wilson, ‘God Only Knows’. Thank you, Brian. – Paul.”
Wilson’s work on the seminal LP Pet Sounds (1966) was hugely influential on McCartney and The Beatles’ subsequent studio albums, particularly Sgt. Pepper’s Lonely Hearts Club Band (1967). McCartney cited “God Only Knows” as one of “the best songs ever written” and in 2000, inducted Wilson into the Songwriters Hall of Fame.
Speaking during the ceremony, McCartney declared his admiration for Wilson’s work. “In the ’60s, particularly, he wrote some music that when I played it, it made me cry and I don’t quite know why. It wasn’t necessarily the words or the music, it’s just something so deep in it, that there’s only certain pieces of music that can do this to me… I think it’s a sign of great genius to be able to do that with a bunch of music and a bunch of notes. And this man, he deserves to be in the Hall of Fame, that’s for sure.
He added, “So thank you, sir, for making me cry. For having that thing you can do with your music – you just put those notes, those harmonies together, stick a couple of words over the top and you’ve got me, any day.”
Following the release of Pet Sounds, Wilson was increasingly impacted by mental health struggles and he was eventually diagnosed with schizoaffective disorder. In February 2024, it was announced that he was diagnosed with dementia. Wilson is survived by his daughters Carnie and Wendy from his 1964 marriage to Marilyn Rovell, as well as his five adopted children with his wife Melinda Ledbetter, who passed in early 2024. Read Billboard’s full obituary here.
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Billboard Unfiltered is back with a reimagined format and will remain a live show every Wednesday at 12:30 p.m. ET.
Staff writer Kyle Denis, senior director R&B/hip-hop Carl Lamarre and senior charts analyst Trevor Anderson returned with new moderator Delisa Shannon on Wednesday (June 11) as the trio debated the early returns of Lil Wayne’sTha Carter VI, and all three skewed to various degrees of a negative reception to Weezy’s latest installment in his decorated series.
Lamarre compared Wayne’s career legacy to that of Lakers legend Kobe Bryant and said Weezy still remains in his top five of all-time. Although, CL believes that the disappointing album and his solo output over the last decade have watered down his discography.
“I need to fire whoever was A&R and executive producing my brother Wayne’s album because this is easily the worst [Carter] in the entire series,” he claimed. “[C6] was just a full trainwreck… When you take out the mixtapes and look at pure albums. From one, five and six on Tha Carter is mid — everything else is mid.”
Denis bluntly said C6 is “not a good album at all” and “a—.” “He spent the last year begging for sympathy by him not getting the Super Bowl slot and he deserved that,” he said. “This was the time to drop a fire album, get one or two hits off of that, and make your actual case for a Super Bowl headlining show next year. That’s completely shot now because it’s a—… You did not rise to the occasion.”
Anderson seemed to enjoy the album most among the Unfiltered crew, highlighting the first six tracks as standouts before being derailed. “I’m not gonna be that hard on it,” TA began. “Clearly, it’s the weakest entry in the canon… It didn’t stick the landing for me… I don’t know if this album really messes up [if Wayne is top five or top 10] for me… It does weaken Tha Carter series overall… But I don’t think it messes up the legacy peg at all.”
The conversation turned to Wayne’s legacy and Lamarre believes every top 10 rapper should have at least three classic solo offerings, and he thinks Wayne has two with the second and third installments of Tha Carter, but not much else. “I’m adamant about saying his [albums] discography is not as strong as people think,” he declared.
Ultimately, the trio wants to see Wayne get back to the drawing board and lock in with a singular producer like Nas did with Hit-Boy to bring that greatness out of him. When the dust settled, Shannon gave Trevor Anderson the victory in the first game of the revamped Unfiltered series.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-12 08:00:352025-06-12 08:00:35‘Billboard Unfiltered’: Reviewing Lil Wayne’s ‘Tha Carter VI’ & His All-Time Ranking in Rap
Jen Majura, a seasoned guitarist who has performed with bands such as Equilibrium, Knorkator and Evanescence, has announced her decision to “step away” from the music industry.
Majura’s plans were shared on her Instagram account on Tuesday (June 10), explaining that she had come to the decision after “careful consideration, observing what‘s going on in the music industry, AI related developments and change in society.”
“Instead of wasting another year of my life constantly hoping for new energy, drive and creativity, I‘ve reached a point in my life where I can confidentially lean back in peace,” she wrote. “While time allowed me, I was able to collect an amazing amount of beautiful experiences, tours, shows, travels and moments! I am grateful for every bit of that, but the world has changed. I can confidently make up my mind to stop.
“I am not saying that I will never create any music again, whether recorded or live – but for now I feel there are healthier and better things to fill my life with good vibes and not deal with the overwhelming amount of ridiculousness that comes with the music industry now days. I just can’t identify with today‘s attitude and values anymore.”
As Majura continued she shared her well wishes to “all the ambitious and remaining ‘creators’, young and old,” before offering four singles to her fans as something of a parting gift.
“As a final musical endeavor I wanna share 4 tracks with you,” she wrote. “Songs that were written over a decade ago together with the great guitarist Dennis Hormes. I found these old demo recordings while cleaning out stuff from my computer and thought they are too good to not be shared.”
A musician from an early age, Majura has performed professionally since 2000, with work as a guitarist and bassist in bands such as Equilibrium, Knorkator and Black Thunder Ladies, and a handful of solo albums to her name.
Majura came to widespread attention in 2015 when she took over from Terry Balsamo as the lead guitarist of Arkansas rockers Evanescence. Performing on the band’s most recent two albums (2017’s Synthesis and 2021’s The Bitter Truth), Majura’s exit from the band was announced in May 2022.
“It has been a very special chapter in the band with our dear friend Jen Majura, but we have decided it’s time to go our separate ways,” the group said at the time. “We will always love her and support her, and can’t wait to see what she does next! We are so grateful for the good times and great music we made all around the world together.”
Following her departure from Evanescence, Majura co-founded “crossover metal band” How We End, and also performed vocals on the track “Deep Inside,” from former Dream Theater drummer Mike Mangini’s Invisible Signs albums.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-12 04:56:432025-06-12 04:56:43Former Evanescence Guitarist, Jen Majura, Announces Decision to ‘Step Away’ From Music Industry
In today’s episode of Billboard Unfiltered, Billboard staffers Carl Lamarre, Trevor Anderson, and Kyle Denis give their thoughts on Lil Wayne’s latest drop and debate on if he is on their list of the top 5 rappers all time. Moderated by Billboard’s Delissa Shannon, each hip-hop expert gives their hot take on the album, his legacy and more.
Did you like ‘Tha Carter VI’? Drop your opinion in the chat!
Delisa Shannon:
What is up y’all, this is Billboard Unfiltered where we debate hot button topics, and whoever wins gets to give their unfiltered take. Now I am Delisa Shannon, your host for today, Short Form Content Director here at Billboard. For our panelists, we’ve got Mr. Carl Lamarre, Senior Director of R&B and Hip-Hop here at Billboard. We’ve got the Trevor Anderson, Senior Charts and Data Analyst for R&B and Hip-Hop, and the goat Kyle Denis, staff writer. All right, y’all, what’s-
Trevor Anderson:
What is this? Like, this initial bias?
Delisa Shannon:
No, I just- I mean,
Kyle Denis:
The intro was crazy
Delisa Shannon:
I mean I can’t even give my dude like props.
Carl Lamarre:
The Trevor, goat Kyle.
Delisa Shannon:
I said Mr. Carl Lamarre.
Kyle Denis:
You got an actual title.
Delisa Shannon:
This is no preferential treatment, don’t let it get it to your ears. I treat all my boys the same. Okay, I don’t discriminate. All right. Are we good to get into the topic of today?
Trevor Anderson:
We’re really not good, but I’ll let it slide.
Carl Lamarre:
I was about to hit my buzzer.
Kyle Denis:
Haters.
Delisa Shannon:
Listen, Kyle, don’t let them knock you off.
Kyle Denis:
They could never knock me.
Delisa Shannon:
Don’t let it. Don’t even start. So let’s get into the topic. So today we’re going to discuss Lil Wayne’s new album, ‘The Carter VI’. The album has received mixed reviews. I want to know, what are your thoughts? Do we think Lil Wayne is still on the list of the top five best rappers of all time? Carl, we’re going to start with your opening statement, 90 seconds, and you start now.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-12 04:11:562025-06-12 04:11:56Lil Wayne’s ‘Tha Carter VI’ Reaction: Is He Still A Top 5 Rapper? | Billboard Unfiltered
Douglas McCarthy, the co-founding vocalist of English industrial dance outfit Nitzer Ebb, has passed away at the age of 58.
McCarthy’s death was confirmed by Nitzer Ebb’s official social media account on Tuesday (June 11). “It is with a heavy heart that we regret to inform that Douglas McCarthy passed away this morning of June 11th, 2025,” a post read.
“We ask everyone to please be respectful of Douglas, his wife, and family in this difficult time,” it added. “We appreciate your understanding and will share more information soon.”
McCarthy co-founded Nitzer Ebb in 1982 alongside school friends Vaughan ‘Bon’ Harris and David Gooday, with the group taking inspiration from the post-punk genre for their early single releases. That sound soon evolved with more industrial and electronic influences, with the band quickly becoming regarded as noted figures within the ‘electronic body music’ scene – a genre that combined elements of industrial and punk with dance music.
The group’s debut album, That Total Age, would be issued in May 1987, and though avoiding chart success, the single “Join the Chant” would reach No. 9 on the Dance Club Songs charts.
Nitzer Ebb would remain a fixture of the chart in the coming years, with singles such as “Control I’m Here,” “Lightning Man,” and “Fun to Be Had” all appearing therein, with the latter giving the band their highest peak when it reached No. 5 in 1990. They would also impact the Alternative Airplay charts, with 1991’s “Family Man” giving them a career high when it reached No. 21.
While 1991’s Ebbhead would be their only record to reach the Billboard 200 (peaking at No. 146), their follow-up, 1995’s Big Hit, would be the band’s last for 15 years, with Nitzer Ebb splitting soon after its release.
McCarthy would contribute to Recol, the solo project of Depeche Mode’s Alan Wilder throughout the ’90s, and later collaborate with French producer Terence Fixmer as one half of Fixmer/McCarthy. Nitzer Ebb would reform in 2006 and release their final album, Industrial Complex, in 2010. In 2013, McCarthy would release his only solo album, Kill Your Friends.
In recent years, McCarthy had suffered from noted ill health, with Harris taking over vocals for a series of 2021 performances after McCarthy collapsed before a show due to a “pre-existing” medical condition. In early 2024, McCarthy announced he would no longer be performing live after being diagnosed with cirrhosis of the liver.
Ananda Lewis, who had a celebrated run on MTV as a veejay and as the host of shows including Total Request Live and Hot Zone, has died at age 52.
News of Lewis’ death was confirmed in a Facebook post by her sister, Lakshmi Emory. In 2020, Lewis revealed that she had been diagnosed with breast cancer, saying that she had long avoided mammograms and urged early testing.
Her last post to Instagram was in February, when she wrote that “prevention is the cure. If you’re in a healthy body, you’re holding a winning lotto ticket. PLEASE learn how to avoid cancer. Because you still can.” Lewis is survived by her son, Langston, who is 14.
Born in Los Angeles, Lewis attended Howard University and then came to cultural prominence in the late ’90s as an MTV veejay. After joining the network in 1997, she hosted programs including the countdown show Total Request Live and Hot Zone, which featured music videos and Lewis’ artist interviews. The network also called upon Lewis to host specials on school violence after the 1999 Columbine shooting along with a tribute program following the 2001 death of Aaliyah.
Lewis launched The Ananda Lewis Show in 2001 and later served as a correspondent on Entertainment Tonight spin-off The Insider, eventually leaving that project to pursue carpentry. Her final project was as the host of TLC’s While You Were Out.
On social media, fellow former MTV veejay Dave Holmes remembered Lewis writing “Well, this is awful. Ananda Lewis has died. She was the best: friendly funny kind clever cool committed passionate patient stylish and smart. If you were working with her, you knew you’d be having fun, and you’d want to step your game up to match her effortless charisma. You couldn’t, but the trying made you better. We bonded over our shared love of this song, it has reminded me of her ever since, and now it always will. All my love to her family.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-12 03:05:042025-06-12 03:05:04Ananda Lewis, Influential MTV Host, Dies at 52
U.S. music publishing revenue rose 17% to $7.04 billion in 2024, the National Music Publishers’ Association (NMPA) revealed at its annual meeting on Wednesday (June 11). Last year, the trade organization reported total revenue at $6.2 billion, which was up 10.71% from the previous year.
The event, held at Alice Tulley Hall at New York’s Lincoln Center, is considered a state-of-the-union for U.S. music publishers, and this year, its CEO/president, David Israelite, and general counsel, Danielle Aguirre, focused their presentation on both celebrating hitmakers — like award recipients Kacey Musgraves, Rhett Akins, Gracie Abrams and Aaron Dessner — and on talking about ways to grow revenue even more.
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There was also a strong focus on calling on the industry, from executives to songwriters and artists, to stand together. As Israelite said, “We should all stand behind [songwriters]…There has never been a greater need to stand up for the value of songwriters.”
Aguirre and Israelite pointed to three key battlegrounds where remuneration can improve if the industry sticks together: general licensing (licensing for bars, restaurants, venues, etc.); social media; and interactive streaming. As Aguirre noted, 72% of publishing income is under “burdensome regulations” in the U.S. — whether by consent decree or compulsory license — but there are still ways to improve that within the current system.
Interactive Streaming
For interactive streaming, Aguirre reminded the crowd that Phonorecords V proceedings at the Copyright Royalty Board (CRB), which will determine the rate that songwriters and publishers will be paid for U.S. mechanical royalties from 2028-2032, are “fast approaching” in the next six months.
“One of the biggest challenges [for interactive streaming income] continues to come from Spotify’s mischaracterization of its music service into bundles, which forced the conversion of over 44 million subscribers into bundled platforms that those subscribers did not request,” Aguirre said. (Earlier this year, the Mechanical Licensing Collective’s lawsuit against Spotify, which claimed the company’s bundling of premium tiers and resultant cutting of payments to songwriters and publishers was unlawful, was dismissed by a judge who said the rules were “unambiguous.” However, the NMPA continues to attack the platform through various means, including sending mass takedown notices for podcasts and videos on Spotify that do not properly license music.)
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Aguirre revealed that in the first year of Spotify’s new bundling change alone, publishers and writers have lost over “$230 million…and these losses will continue if we can’t reverse or correct Spotify actions,” she said. “In fact, if we don’t stop them, we are projected to lose over $3.1 billion through the next CRB period [which ends in 2032].”
Perhaps taking a cue from Spotify, Amazon has also bundled its music service with other offerings, allowing it to cut royalty rates for songwriters and publishers in the U.S. — another change Aguirre hit on in her remarks. “In just the last three months, we’ve seen a 40% decrease in music revenue from Amazon, which has hit the PROs particularly hard,” she said. Notably, the NMPA had a much more hopeful outlook on the Amazon bundle when it was announced; at the time, the organization released a statement saying it was “optimistic” about Amazon’s new offering and had “engaged” with the company in a “respectful and productive way” to find a compensation model for publishers that “will not decrease revenue for songwriters.”
Social Media
Social media is one of the rare areas of publishing where publishers and songwriters can negotiate without any government interference — and the NMPA is hopeful about capitalizing on that. To date, the income stream is still small: Aguirre reported that social sites like TikTok, Instagram, X and others only make up 2% of income for publishers in the U.S.
However, Israelite believes songwriters have the power to say no to this level of compensation and force the companies to treat them better.
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“It’s important for songwriters to understand they already have the power to strike,” he said, despite the fact that songwriters do not qualify for a traditional union. “They do so when the people they entrust to license their songs, the music publishers and collecting societies, say no. There are key industries, such as social media, user-generated content, artificial intelligence training and lyric rights, where songwriters have the power to say no. But too often, when a music publisher or a PRO stands up to licensees who don’t want to pay fair rates, we run into a unique problem that plagues the songwriting industry: Songwriters don’t stick together. This is a tough conversation.”
Case in point: Just last year, Universal Music Group removed its catalog from TikTok in an effort to fight for its “fair value.” However, as Billboard reported at the time, a number of artists, including Ariana Grande, Beyonce and Olivia Rodrigo, found ways around the ban to continue using the platform for marketing purposes.
General Licensing
The final area of focus the NMPA addressed at the meeting was general licensing, or the performance license required to play music in public spaces like restaurants, bars, venues and clubs. While Aguirre noted that this only made up for 5% of total revenue last year, she said that “there is a substantial opportunity for growth.”
“One concern is the lack of licensing from many of these venues. For the first time, we have insight into just how much money is being lost to unlicensed mid-sized venues,” said Aguirre. In a recent study, she said the NMPA found that 80% of “venues that have 50 or fewer locations but are large enough to require performance licenses…misuse consumer streaming services to provide that music.” Others, she added, are using business-to-business (B2B) music services that “are not obtaining all of the necessary rights for the services that they are offering. Some provide features like offline listening, interactive music experiences and on-demand streaming without securing appropriate mechanical licenses.”
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To remedy this issue, the NMPA announced it’s sending six cease and desist letters to B2B music services that are allegedly not properly paying for music. The organization did not specify the names of these B2B vendors.
The NMPA’s attack on B2B music suppliers comes on the heels of the U.S. Copyright Office’s Notice of Inquiry regarding U.S. PROs, wrapping up its first comment period. While bars, restaurants, clubs and other public spaces license music from PROs to use in their venues, some recently complained about the PROs’ alleged “lack of transparency” and the fact that there’s been a so-called “proliferation” of new PROs in the market, complicating (and perhaps increasing the cost of) the licensing process. While most countries have just one, maybe two, PRO options for writers and publishers to join, the U.S. now has six: ASCAP, BMI, SESAC, GMR, AllTrack and PMR.
Overall Breakdown of Publishing Income Streams
As reported by the NMPA, the breakdown of income streams for U.S. publishers and songwriters is as follows:
Streaming services: 45%
Traditional sync: 8%
Radio: 8%
TV/Cable: 6%
Mass sync: 6%
General Licensing/Live: 5%
Social Media: 2%
Label: 2%
Sheet Music: 1%
Lyrics: 1%
Songwriters
It wasn’t all just business talk — this year’s meeting also celebrated songwriters. The honorees included Musgraves, who received the Songwriter Icon Award accompanied by a tribute from her friend, Leon Bridges, who performed the Musgraves-written song “Lonely Millionaire.” Musgraves also took the stage to perform “Architect” from her latest album, Deeper Well.
Akins received the Non-Performing Songwriter award this year, and the ceremony featured a special tribute from his son, country artist Thomas Rhett, who performed “I Lived It” (released by Blake Shelton) and “What’s Your Country Song,” which he wrote with his father.
Lastly, the NMPA showcased the winners of the Billboard Songwriter Awards. Those honors were originally set to be handed out at a separate NMPA/Billboard Grammy week event that was canceled due to the Los Angeles wildfires and rescheduled for the NMPA’s annual meeting. Abrams and Dessner, who received Breakthrough Songwriter of the Year and the Triple Threat Award, respectively, took the stage on Wednesday to perform “I Love You, I’m Sorry,” which they wrote together.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-06-12 03:05:032025-06-12 03:05:03NMPA Says Spotify Bundling Change Cost Writers & Publishers $230M in First Year