Ludacris signed with UTA for representation in all areas, including music, film/TV and other ventures. The rapper is still repped by Cara Lewis Group for concert bookings in the U.S. He’s managed by Chaka Zulu and Jeff Dixon of Ebony Son Entertainment and attorney Darrell Miller of Fox Rothschild.

Longstanding electronic music producer Seven Lions signed with Los Angeles-based artist management company MLennial, with the partnership focused on all of the artist’s future endeavors, including global touring. Launched a year ago, MLennial is run by founder Mike Lisanti, formerly the COO of Prodigy Artists, and focuses on multi-genre DJs and producers in dance and bass music. “Jeff (Seven Lions) has been one of my favorite artists since the start of my journey in the music industry,” says Lisanti. “His win in the Above & Beyond ‘You Got To Go’ remix contest on Beatport inspired me to enter similar competitions for exposure back in 2012. At the time, I was part of Charity Strike, and my duo partner and I went on to win two Beatport contests shortly after Jeff’s iconic entry. That moment kickstarted my entire career in the industry. Now, managing Seven Lions at the company I’ve built from the ground up feels not only full circle but truly surreal. We’re thrilled to unveil this new chapter for Seven Lions and are committed to serving both longtime and new fans through a fresh, innovative lens.” – Katie Bain

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Grammy- and Oscar-winning rapper, actor, author and activist Common signed with CAA and Anonymous Content. He continues to be represented by Ceremony Music Group, The Lede Company, SMAC Entertainment, and Myman Greenspan Fox Rosenberg Mobasser Younger & Light.

McFly signed to Absolute Label Services for the release of the U.K. pop group’s “21st birthday album,” 21 LIVE. The release follows the ITV music special McFLY: The 21st Birthday Party, which was recorded at The O2. This will be the band’s fourth album released through Absolute.

Hawaiian country artist Maoli signed with ONErpm and Huff Co., which formed a joint venture last year. He’s set to release the album Last Sip of Summer on June 27 and recently embarked on a tour that will hit New Zealand, Australia, the U.S. and Canada.

Bluegrass band The Steeldrivers signed with Sun Records, which will release the group’s new self-produced album, Outrun, on May 23.

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Universal Music Group Greater China signed an exclusive, multi-year global agreement with Chinese pop star Liu Han, who has been making music in the country for four decades. The deal marks the first time that his “majority body of work,” both recording and publishing rights, will be under a single umbrella, according to a press release. “Liu Huan is a towering figure in contemporary Chinese music history, and we are proud to support his journey in sharing his extraordinary music with the world,” Adam Granite, Universal Music Group executive vp of market development, said in a statement on the deal.

DJ and producer Netsky signed with One World Artists, the official artist agency of Tomorrowland, for global management representation. The drum and bass pioneer recently released the new single “California.”

HSquared Management signed Juno Award-winning artist Jordan St. Cyr. The signing of the “Rescue” hitmaker marks the company’s second joint signing since industry executives Kelli Haywood and Leigh Holt launched the company last year. – Jessica Nicholson

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Pitbull’s Mr. 305 Records signed Cuban singer-songwriter and producer WhiteStar, who is regarded as one founders of the Bajo Mundo movement alongside Farruko and IAmChino. Under the deal, WhiteStar seeks to “expand this movement while exploring new musical horizons,” according to a press release. His contributions to the Bajo Mundo genre, a style that blends reggaetón, guaracha, dembow and EDM, include projects like Farruko’s mega hit “Pepas” and “Helicóptero” by El Alfa. “Joining Mr. 305 Records is a blessing, and a dream come true,” WhiteStar said in a statement. “I’ve always known I had the potential to be a star, and this is the right time to focus on my solo career. I’m excited to work with a label I’ve always admired, one that has played a key role in my development as a songwriter.” – Griselda Flores

The Ophelias signed with Get Better Records, which is set to release the band’s Julien Baker-produced album Spring Grove on April 4. Baker sings harmonies and plays instruments throughout the album, according to a press release. The Ophelias is composed of Spencer Peppet (guitar & vocals, she/her), Mic Adams (drums, he/him), Andrea Gutmann Fuentes (violin, she/her), and Jo Shaffer (bass, they/she).

Sophia Talamas, a content creator with more than 30 million followers on social media who last year participated in the influencers’ panel at Billboard Latin Music Week, signed a record deal with Sony Music Latino and will release her first single on Feb. 21. “This song is called ‘Funeral’ and is based on ‘real events’,” Talamas tells Billboard, adding that she has been working with Sony for over a year. “It’s not that easy to release a 1st song. I have learned to have a lot of patience, especially when you also have to complement or go from influencer to artist,” she adds. “When the 2nd one comes, it should be easier and faster.” – Isabela Raygoza

Mom+Pop Music signed alt-country supergroup Chaparelle, which released a new song, “Devil’s Music,” on Jan. 31. The group — composed of Zella Day, Jesse Woods and Beau Bedford — will be releasing new music throughout the year and is slated to kick off a 2025 tour on April 3. Chaparelle is managed by Jack Gallagher and Fiona Dolan at OPEN Management.

Noel Gallagher was unimpressed by Kendrick Lamar’s record-breaking Super Bowl Halftime Show performance on Sunday night (Feb. 9).

“I had to switch it off. It was absolute nonsense,” the Oasis frontman said during an appearance on TalkSPORT on Tuesday (Feb. 11), specifying, “I didn’t watch it all, I just switched it off. There was like 300 people getting out of a car in the first two minutes.”

When asked about his favorite past Super Bowl Halftime Show performances, Gallagher explained that he doesn’t typically watch them. “I don’t like the halftime nonsense, it’s usually artists I don’t like,” adding, “I never watch it, I’m not interested it.”

Overall, the rocker doesn’t love the idea of blending music with sports. “Americans are taking over our sport, they’re taking over the Premier League, they’ll take over the Champions League, trust me, 20 years from now it will all be nonsense,” he said.

Lamar’s performance at the Ceasars Superdome in New Orleans is the most-watched halftime show performance of all time, with 133.5 million viewers, earning more views than the Super Bowl itself, which reported an average of 126 million viewers watching the Philadelphia Eagles claim victory over the Kansas City Chiefs with a final score of 40 to 22.

The star also made history as the first solo rapper to headline the Super Bowl Halftime Show, and his performance featured several surprise guests including SZA, Samuel L. Jackson and Serena Williams.

In another testament to SB19‘s unwavering global appeal, the Phillippines’ boy band sensation is gearing up to dominate new U.S. stages as part of their much-anticipated Simula at Wakas World Tour.

Fresh off being crowned winners of the Billboard Fan Army Face-Off for both 2023 and 2024, the group’s global fanbase — affectionately known as A’TIN — can look forward to Pablo, Josh, Stell, Ken, and Justin visiting even more of them this year while hitting new cities and countries.

Billboard can exclusively reveal plans for the SB19 Simula at Wakas World Tour, which will showcase not only their dynamic live performances of the P-pop boy band but, inevitably, the latest evolution of their sound as they gear up to drop their new EP, Simula at Wakas, on Friday, April 25.

Simula at Wakas promises to push the guys further into the global-pop conversation as the final chapter in their musical trilogy following 2021’s Pagsibol and Pagtatag! from 2023. SB19 first teased fans with a new trailer video on January 31, 2025 (below) that featured visual callbacks to previous hits like “What?” and “Gento” (which hit No. 8 on Billboard’s World Digital Song Sales chart in 2023) to signal a fresh, new musical direction for their soon-to-be revealed new single set for a February 28 release.

Soon afterward, the Filipino sensation will hit the road with a series of concerts, including U.S. stops in San Francisco, Los Angeles, Honolulu, and more, alongside international dates in cities like Toronto, Tokyo, Sydney, Taipei, Doha, and more.

“We’re really excited to meet everyone,” Ken tells Billboard. “We’ve been preparing for unlimited surprises for you guys.”

While Justin promises that fans will hear new songs from Simula at Wakas for the first time, Josh is sure to add that A’TIN should “stay tuned for new genres and performances, plus fresh arrangements of our older tracks!”

While the guys are laser-focused on releasing their new music, they say bringing those songs to life in new countries and territories is equally exciting to the quintet.

“We’re thrilled to finally share what we’ve been working on over the past few months,” Stell says. “After a long break as a group, our main focus is now on the new EP, and we can’t wait to reconnect with our fans — especially in places we haven’t visited before. We’re really excited to meet everyone there.”

In addition to the world tour dates already set between May-August, as well as October 2025, SB19 say “more cities will be announced soon” with dates coming soon for their Sydney, Melbourne, Tokyo, and Hong Kong stops.

“We are pushing the boundaries and we want the best for all of the fans,” leader Pablo shares before Josh adds, “We think from our last tour they have seen more of our individuality but this time, we will be coming stronger.”

Stell concludes by speaking to SB19’s larger ambitions, saying “We really want our fans to connect with our stories since we did it with all our hearts. Our goals are not only for SB19 but for the entire Philippine music industry.”

See below for the Simula at Wakas World Tour poster and stay tuned for more information from the band.

SB19 world, U.S. tour
SB19

Warner Music Group (WMG) announced Tuesday (Feb. 11) that it’s completed its full acquisition of Africori, one of Africa’s leading digital music distribution, rights management and label services companies.

Founded in 2009 in Johannesburg, South Africa, Africori touts itself as “one of the biggest independent songbooks in Africa,” including music by Kelvin Momo, Master KG (“Jerusalema”), Nkosazana Daughter, Oscar Mbo, TitoM & Yuppe (“Tshwala Bam”) and more than 7,000 artists. It will continue to operate as a standalone entity, and Yoel Kenan will remain as CEO, reporting to Temi Adeniji, managing director of Warner Music Africa. Africori and WMG have aligned their systems to allow Africori artists and songs to be upstreamed into the global WMG network.

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“We’ve had an incredibly successful few years partnering with Temi Adenijii and Warner Music. From the beginning of the venture, our shared vision of connecting African music with fans from across the world was evident,” Kenan said in a statement. “The Africori team looks forward to working with the entire Warner Music family as we discover, develop and upstream the next generation of talent from across the continent.”

WMG first invested in Africori in 2020 in a deal that opened up the African continent to Warner Music by giving it access to Africori’s A&R network and first option on international licenses for all new signings, while Warner’s independent label services division ADA distributed and promoted Africori’s acts internationally through the company’s global network. WMG later acquired a majority stake in Africori in 2022, leading to its full acquisition this month.

“Today is a landmark moment in our evolution in Africa. Over the past four years, we’ve shown that proper investment, synergies and cooperation have created value for artists, but also that Warner Music has helped energize and nurture the entrepreneurial spirit of a local partner,” added Adeniji. “We’ve upstreamed Africori artists and plugged them into our global network, delivering international remixes and trend-driven cross-collaborations that have helped elevate their careers.”

A$AP Rocky waived his right to testify on Tuesday (Feb. 11) during the ongoing trial over accusations that he fired a gun at former friend A$AP Relli near a Hollywood hotel in November 2021.

In a TMZ video, Superior Court Judge Mark S. Arnold reminds the former A$AP Mob rapper (real name Rakim Mayers) that he has the “right to get on the stand and give your side of the case” and the “right under the Fifth Amendment of the United States Constitution not to testify.” When asked which right he wanted to invoke, Rocky responded by saying, “I want my right to not testify.”

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Rocky was more vocal in court on Friday (Feb. 7) when he urged A$AP Twelvyy not to reveal the meaning behind AWGE, the former’s creative agency and record label. Los Angeles County Deputy District Attorney John Lewin had asked Twelvyy to tell the courtroom what the letters stood for when Rocky insisted, “Don’t say it.”

Rocky’s attorney Joe Tacopina said on Monday (Feb. 10) that either his client would take the stand on Tuesday or the defense would rest its case, according to the Associated Press. Closing arguments will begin Thursday morning (Feb. 13) and the jury will start deliberations that afternoon.

Rocky is charged with two felony counts of assault with a firearm and faces 24 years in prison if convicted after turning down a plea deal for just 180 days in county jail. He was arrested in April 2022 at Los Angeles International Airport and posted a $550,000 bond shortly after. He pleaded not guilty to all charges in August 2022.

This year’s Super Bowl has made television history, with the broadcast setting a ratings record for the second year in a row.

According to FoxSports, an average of 126 million viewers tuned in to watch their broadcast on Sunday (Feb. 9), which saw the Philadelphia Eagles emerge victorious over the Kansas City Chiefs with a final score of 40 to 22. According to the network, those figures measure viewers across Fox, Fox Deportes, Tubi, Telemundo and NFL digital properties.

That number is a 2% increase on the 123.7 million viewers who watched last year’s event, which outshone any audience previously recorded by Nielsen. Fox also noted that their peak audience of 135.7 million viewers occurred around the game’s second quarter, between 8:00-8:15pm ET.

Though the evening’s big takeaway was undoubtedly related to the game itself, a sizable portion of the Super Bowl’s viewership likely came thanks to the halftime show, which featured Kendrick Lamar in the spotlight.

Much of the discourse relating to Lamar’s appearance revolved around the potential content of his performance – specifically whether he would perform his Drake diss track “Not Like Us”. 

Having inspired a defamation lawsuit from its subject matter against Lamar (and Drake’s) record label, Universal Music Group in January, and having taken home five Grammys (including Record of the Year and Song of the Year) just a week earlier, Lamar ensured that the song received pride of place in his already-iconic set. Samuel L. Jackson, SZA, and Serena Williams also joined Lamar onstage for the performance at New Orleans’ Caesars Superdome.

Currently, specific break-out numbers for the halftime show have not been made available, though it would likely be in contention for the title of the most-watched halftime show in history. According to The Hollywood Reporter, that honor belongs to the 1993 Super Bowl, which saw Michael Jackson change the face of halftime entertainment, bringing in 133 million viewers for his appearance.

A plane owned by Mötley Crüe vocalist Vince Neil is reportedly at the center of a fatal plane crash in Scottsdale, AZ.

The incident reportedly occurred at 2:45pm on Monday (Feb. 10) when a Bombardier Learjet 35A arriving from Austin, TX veered off the runway after landing at Scottsdale Municipal Airport and crashed into a Gulfstream G-200 business jet parked nearby on private property. One person was reported deceased following the crash, with four others suffering injuries.

A press briefing from Scottsdale Fire Capt. Dave Folio attributed the incident to faulty landing gear. 

Jet Pros Director of Operations Gus Toulatos, who operates the Gulfstream, issued a statement noting that no injuries occurred aboard their plane but confirmed the extensive exterior damage.

“We are cooperating fully with airport authorities and relevant agencies as they conduct a thorough review of the situation,” Toulatos said. “We appreciate the swift response of airport personnel and will provide updates as more information becomes available.”

Scottsdale Mayor Lisa Borowsky also issued a response to the tragedy, confirming the details of the event and noting that the airport remained closed at the time of her statement.

“We are closely monitoring the situation, and we are in touch with airport, police and federal agencies and will update the community as we have further information,” Borowsky said.

“On behalf of the city of Scottsdale, we offer our deepest condolences to those involved in the accident and for those who have been taken to our trauma center for treatment. We will keep all affected by this tragedy in our prayers.”

According to Nashville’s NewsChannel 5 (WTVF), the Bombardier Learjet 35A is registered to the Franklin, Tennessee-based Chromed in Hollywood, with Mötley Crüe’s Vince Neil listed as a principal agent. 

A report from TMZ stated that Mötley Crüe manager Allen Kovac has confirmed that Neil was not on the plane at the time of the incident, and that the band are working towards a way to aid those affected by the crash.

Don Henley and his longtime manager Irving Azoff are being sued by one of the men who was criminally charged — and later vindicated — for allegedly attempting to sell handwritten lyrics connected to the Eagles‘ 1976 album Hotel California, claiming they and their attorneys engaged in a “malicious prosecution” that harmed his reputation and caused him financial losses and emotional distress.

The complaint, filed in New York state court on Thursday (Feb. 6), was filed against Henley, Azoff and the firms that represented them in their case: Manatt, Phelps & Phillips and Loeb & Loeb. In it, Horowitz claims the parties falsely alleged that he and his two co-defendants in the criminal case “knew or had reason to believe” that the lyric sheets “had been unlawfully obtained” and nonetheless attempted to profit off of them via an online auction. However, Horowitz claims the men and their attorneys knew all along that the notes had been acquired through legal means in the first place.

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Horowitz, a rare book dealer, and his co-defendants — Rock & Roll Hall of Fame curator Craig Inciardi and memorabilia auctioneer Edward Kosinski — were criminally charged in 2022 over an alleged conspiracy to resell the lyrics that had been handwritten by Henley while working on the Eagles’ iconic Hotel California album. At the time, prosecutors had accused the three men of hiding the fact that the documents had been stolen from Henley’s home by Ed Sanders, a journalist hired by Henley and Azoff to write a never-published book on the Eagles in the late 1970s.

But in a stunning turnaround in March 2024, Manhattan prosecutors dropped the case after Henley produced new evidence previously withheld under attorney-client privilege that cast doubt on his and Azoff’s allegations. The judge in the case subsequently dismissed the charges and chastised Henley, Azoff and their attorneys for “obfuscat[ing] and hid[ing] information that they believed would be damaging to their position that the lyric sheets were stolen.”

According to Horowitz’s attorney Caitlin Robin, the evidence cited by prosecutors and the judge in dropping the charges — a series of emails between Henley, Azoff and their attorneys — proves they were aware that Sanders had legally obtained the lyric sheets in the course of writing the never-published Eagles book. Nonetheless, she alleges they “purposefully withheld any disclosure thereof because they knew it would exculpate Plaintiff GLENN HOROWITZ and essentially destroy the fraudulent allegations they made about him.”

As a result of his “unjust prosecution,” Horowitz claims he “was deprived of his liberty and suffered humiliation, defamation, media harassment, diminished reputation, loss of business and/or loss of wages amounting in more than ten million dollars ($10,000,000.00), in addition to mental anguish, indignity, frustration and financial loss.” The complaint further alleges that Horowitz’s wife Tracey (who is listed as a co-plaintiff) also “suffered humiliation, defamation, media harassment, diminished reputation, and mental and emotional anguish” as a result of her husband’s prosecution.

In a statement sent to Billboard, Henley and Azoff’s attorney Dan Petrocelli said, “Don Henley was a witness and a victim in a criminal trial brought by the Manhattan District Attorney after a formal indictment of Glenn Horowitz by a New York grand jury. The indictment highlighted the dark underbelly of the memorabilia business that exploited the brazen, unauthorized taking and selling of Mr. Henley’s handwritten lyrics. The only malicious prosecution involved here is the filing of this case by Mr. Horowitz.” 

The Horowitzes are asking for damages “in excess of the jurisdictional limits of all the lower Courts of the State of New York.”

Manatt, Phelps & Phillips and Loeb & Loeb did not immediately respond to Billboard‘s requests for comment.

Drake’s Anita Max Win Tour continues to generate headlines, and his first Melbourne show at Rod Laver Arena on Feb. 9 was no exception.

Midway through the set at Rod Laver Arena on Feb. 9, the Canadian rapper surprised two audience members with a combined $50,000 in cash gifts during his performance. The moment, which was caught on video that has since circulated on social media, occurred when Drake spotted a sign in the crowd that read “Adonis for President,” a reference to his seven-year-old son.

“You’re showing a lot of love to my son,” he told her. “On behalf of me and Adonis … we’re going to give you 25 grand for your family.”

Another fan’s sign requested a birthday kiss, to which Drake instead responded by gifting her $20,000, covering her birthday dinner with friends, and inviting her to another show with complimentary tickets.

“What I am gonna do is, I’m going to give you 20 grand, and I will pay for a birthday dinner for you and all your friends tomorrow night. And if you want, you can come back to the show again, both of y’all … We’ll get you tickets.”

“Australia, I love y’all. Melbourne, this is real love,” Drizzy added.

Later in the show, the “Energy” hitmaker told fans: “It really touches my heart that—through all of that, you still take your hard-earned money, and you spend some of that money on tickets to this show to see this kid from Canada get up here and talk s–t. I really appreciate you. I would be nothing without you.”

The moment follows similar instances earlier in the tour. At his debut Perth show at RAC Arena on Feb. 5, Drake also handed out cash to fans. “Put the light on this family right here… For both of y’all, I’m gonna give you $20,000 each to go wherever you want in the world because that’s what we do out here in Perth,” he said.

“You gotta show love… You see, it’s nights like these that we can never take for granted; it’s 14,000 people inside one building, and we all got here safe.”

He continued, “I pray to God that you’re healthy; I pray to God that you’re happy, but I promise you that everybody in this room is not happy. There’s a lot of people in here that might be going through some shit, you know, it might be a f—d up time for you.

“Maybe you don’t get treated right by your parents or your boss, or maybe you don’t have that many friends. Maybe your boyfriend is f—-d up; maybe your girlfriend is a little toxic; you never know what the next person is going through, so this is what I want you to do… I want you to turn to somebody that you don’t know, and I just want you to give them a hug [and] say something nice to them.”

Before his first official concert, the rapper also made an appearance at Melbourne’s Maison Batard’s Le Club, performing a surprise 90-minute set featuring tracks such as “Pipe Down,” “Rich Baby Daddy,” “Faithful,” and “Trust Issues”.

The Anita Max Win Tour has so far showcased a broad range of Drake’s catalog, blending chart-topping hits with fan-favorite deep cuts. His Melbourne setlist included tracks such as “Hotline Bling,” “In My Feelings,” “Rich Baby Daddy,” and “Jimmy Cooks,” alongside earlier classics like “Marvin’s Room” and “Over.”

The production features an expansive floating catwalk stage that spans the arena, allowing for an immersive experience. His entrance at the Perth show, where he walked through a cloud of smoke wearing a hoodie adorned with bullet hole graphics, immediately sparked speculation among fans regarding its intended symbolism.

Drake’s Melbourne performance took place one day before Kendrick Lamar’s Super Bowl Halftime Show, during which Lamar performed “Not Like Us,” the viral Mustard-produced track widely believed to be a diss toward Drake.

The moment, which featured a guest appearance from Serena Williams, quickly became a focal point of online discussion. Despite the ongoing discourse surrounding Lamar’s performance, Drake remains focused on his tour, with another show in Melbourne tonight, as well as upcoming Anita Max Win Tour dates in Sydney and Brisbane through March.

Beyond the tour, Drake’s upcoming collaborative album with PARTYNEXTDOOR, $ome $exy $ongs 4 U, is set for release on Valentine’s Day.

Over the weekend, he teased a new track, “Crying In Chanel,” sharing a clip of PARTYNEXTDOOR in front of a wedding chapel while the song played. “Shorty right here crying in the middle of Chanel,” Drake sings in the snippet. “Are those tears of joy? I can’t tell.”

$ome $exy $ongs 4 U marks another chapter in Drake and PARTYNEXTDOOR’s decade-long musical partnership, which began with 2013’s “Over Here” and through hits like “Recognize” and “Loyal.”

Kendrick Lamar’s halftime show performance at Super Bowl LIX marked a victory lap, placed right in the middle of the Philadelphia Eagles’ resounding win over the Kansas City Chiefs at the Caesars Superdome in New Orleans on Sunday night (Feb. 9). One week after sweeping all of his Grammy nominations and earning his first career wins in the general category, the superstar MC was once again back in the spotlight, performing on the biggest stage in the world while surrounded by some famous friends.

And while viewers around the globe were able to watch Lamar perform his biggest hits and invite SZA, Mustard, Serena Williams and Samuel L. Jackson onto his halftime show field, some of the nuance of his fast-moving, visually daring showcase were understandably lost in translation. Viewers within the Superdome watched his majesty unfurl live for 12 minutes, as Lamar’s flow never flagged and the stage around him constantly shifted.

Movement is key to any Super Bowl halftime show, but Lamar’s performance combined quick-twitch changes with stadium-sized hooks, as A-listers popped up around him, dancers lunged into place and the star at the center of the show remained effortlessly charismatic. In what ultimately functioned as a preview of his upcoming stadium tour alongside SZA, Lamar delivered a live experience that left the Superdome crowd roaring in appreciation.

So what details of the halftime extravaganza could only be seen and appreciated by those in attendance? Here are 10 details of Kendrick Lamar’s Super Bowl halftime performance that TV viewers didn’t get to fully see: