THE·TEAM elevated executive vp/managing partner Kevin Shivers to co-president of music, the agency announced Tuesday (April 7). Shivers will join current president Lee Anderson, who assumed his current role leading THE·TEAM’s music group in June 2024.

“I’ve always wanted a role like this, and I didn’t know if it would come,” Shivers told Billboard. “It’s a great day, and I couldn’t be more proud to be doing it with a great partner in Lee and the team that we have assembled.”

Shivers joined THE·TEAM (formerly known as Wasserman) in January 2025 following more than 16 years at WME. His roster includes marquee client Tyler, the Creator, as well as major performers from the rap (Kid Cudi, Vince Staples), R&B (Leon Thomas, Jazmine Sullivan), Latin (Kali Uchis, Ca7riel & Paco Amoroso) and even podcasting (Crooked Media) worlds.

“People that look like me rarely get these opportunities,” Shivers added, referencing how with his promotion, he becomes one of the seniormost Black executives in the agency sector and the music business at large.

Prior to him joining THE·TEAM, Anderson and Shivers discussed the possibility that Shivers may be elevated to such a role, Shivers said, with Anderson and other senior executives at the company ultimately agreeing that overseeing the music group was “a two-person job.” In explaining the division’s move from one president to two, Shivers noted the growing corporate trend toward leadership by two executives, which companies such as Netflix, Spotify and Oracle have recently embraced.

Practically, Shivers and Anderson plan to divide and conquer, with each retaining oversight of the areas they’re closest with — hip-hop for the former, dance for the latter — while spreading leadership duties between themselves. Beyond Shivers’ personal roster, THE·TEAM represents major artists across all genres, including Kendrick Lamar, Coldplay, Ed Sheeran, Disclosure, Tyler Childers, Lorde and Phish.

“We’ve worked together long enough to have a real trust together,” Shivers says of Anderson. “We see the business in the same way — but we bring different strengths to the table. … We want to represent the best artists in the world — the ones with the most unique voices, the ones that are putting out the best music and doing the most cutting-edge thing.”

“Kevin is one of the most respected and beloved voices in our business,” Anderson said in a statement. “From day one of joining our company, he has made positive impacts through mentorship, strategic input and a constant drive to improve our business. He brings a rare combination of instinct, experience, selflessness and integrity to everything he does. As we look the future, there is no one better to help lead this group forward.”

Shivers becomes co-president as the agency world and broader live sector face myriad new challenges, from fair ticketing to the rise of AI. For Shivers, the “numero uno” concern currently is that “the clients want more, they deserve more. It’s always making sure we’re giving them more.” The robust branding, marketing and artist services resources that THE·TEAM offers clients has helped to differentiate it from other music agencies, and Shivers expects that to remain a key selling point for the company. In his previous role, Shivers also searched for expansion opportunities internationally, and he plans to continue exploring this “whole other world of opportunity.”

“There’s so much to offer under THE·TEAM,” Shivers said. “Lee and I’s job is to do a great job tying of tying this all together, telling our story, so that everybody knows what we have to offer. Many times, being an agent is about being a good storyteller — and we need to tell our story in a way that everybody understands what we have to offer.”

For Shivers, telling that story will also include addressing concerns about the agency following founder and CEO Casey Wasserman‘s appearance in documents released by the Department of Justice in connection with the Jeffrey Epstein investigation. After several artist clients left or threatened to leave the agency over Wasserman’s connection to the case, he said in a memo to staff that he had stepped back from the company’s day-to-day business and had begun the process of selling it. Shortly after, the agency changed its name to THE·TEAM.

“Everybody knows we’re for sale,” Shivers said. “I’m not in those conversations, but I think that our partners, whatever happens, it’s just going to put us in a better situation.”

While Shivers declined to get into specifics about what that future might entail, he reiterated his confidence in THE·TEAM’s staff, regardless of its ownership.

“The foundation of our business is strong, and that hasn’t changed,” he said. “It never did change. We have a great business. We have the brightest and the best clients, the brightest and the best agents and people who work here. If anything, it’s been a moment for us to really focus on who we are and where we’re going to go next. One thing is for sure: We have the same commitment to our artists and to our team. As always, when you have turmoil or an unfortunate situation, you have a chance to look inside of yourself — and I believe we are going to be stronger.”

London’s Wireless Festival has been canceled following news that Ye’s (formerly known as Kanye West) entry into the U.K. was blocked by the Home Office on Tuesday (April 7).

Earlier in the day, the government confirmed to the BBC that Ye would be unable to enter the U.K. on an Electronic Travel Authorization visitor visa. The Home Office cited Ye’s past antisemitic and pro-Nazi comments, and said that his “presence would not be conducive to the public good.”

Ye had previously been announced as the headliner for all three nights of the annual London festival, due to take place July 10-12 in Finsbury Park. 

Now, Festival Republic has issued a statement saying that Wireless Festival’s 2026 edition will no longer go ahead and refunds will be issued. The first passes to the event went on sale last week as part of a pre-sale; general sale was due to commence this Friday.

In a statement sent to Billboard, Festival Republic said, “The Home Office has withdrawn Ye’s ETA, denying him entry into the United Kingdom. As a result, Wireless Festival is canceled and refunds will be issued to all ticket holders.”

The promoter continued, “As with every Wireless Festival, multiple stakeholders were consulted in advance of booking Ye and no concerns were highlighted at the time.

“Antisemitism in all its forms is abhorrent, and we recognize the real and personal impact these issues have had. As Ye said today, he acknowledges that words alone are not enough, and in spite of this still hopes to be given the opportunity to begin a conversation with the Jewish community in the U.K.”

A number of Jewish community organizations criticized the move, as did U.K. prime minister Sir Keir Starmer and Sadiq Khan, the mayor of London. Labour MPs had called on the Home Office to deny Ye a travel visa based on his past antisemitic statements. Ye issued an apology for the statements in January via an ad in The Wall Street Journal.

Sponsors including Pepsi, Rockstar Energy, Diageo, PayPal and more had withdrawn their association from the festival over the weekend. Melvin Benn, Festival Republic’s managing director, doubled down on the booking and called for “forgiveness” in relation to Ye’s past statements and his mental health.

On Tuesday morning, Ye issued a statement offering to meet with Jewish organizations. “My only goal is to come to London and present a show of change, bringing unity, peace and love through my music. He continued, “I would be grateful for the opportunity to meet with members of the Jewish community in the U.K. in person, to listen. I know words aren’t enough — I’ll have to show change through my actions. If you’re open, I’m here.”

But by the afternoon in the U.K., however, his travel plans had been scuppered. The Home Office can deny entry to the U.K. based on previous past convictions, as has been the case with artists such as Lil Wayne and Chris Brown. 

Entry can also be withdrawn if the applicant is likely to be conducive to the public good. In 2015, Tyler, The Creator was banned from entering the U.K. by then-home secretary Theresa May for alleged homophobic lyrics; the ban was lifted in 2019 and he has performed in the U.K. consistently since.

Wireless Festival has been held annually in the English capital since 2005; last year’s edition was headlined by Drake.

The pushback to the booking of Ye (formerly known as Kanye West) to headline this summer’s Wireless Festival in London for all three nights (July 10-12) has come swiftly and decisively. In addition to reports that title sponsor Pepsi has pulled its support, along with liquor giant Diageo, pay processing partner PayPal and energy drinks make Rockstar Energy, No. 10 Downing Street has also not pulled punches in decrying the booking of the rapper who has a history of employing hateful antisemitic language and symbols in his art and public statements.

Then, on Tuesday (April 7), BBC News reported that the nation’s government has blocked the rapper’s permission to travel to the U.K. for the shows. The Home Office reportedly told the news outlet that Ye made an application to travel to the U.K. on Monday (April 6) through an Electronic Travel Authorization (ETA), but that the application was denied on the grounds that his presence in the country would “not be conducive to the public good.”

British Prime Minister Keir Starmer told The Guardian last week that he felt it was, “deeply concerning that Kanye West has been booked to perform at Wireless despite his previous antisemitic remarks and celebration of Nazism. Antisemitism in any form is abhorrent and must be confronted clearly and firmly wherever it appears. Everyone has a responsibility to ensure Britain is a place where Jewish people feel safe and secure.”

At press time spokespeople for the Home Office and festival organizers had not returned Billboard‘s request for comment on the reported ban.

Ye has faced criticism in recent years over repeated antisemitic actions and statements, including releasing a song entitled “Heil Hitler,” professing a love for Nazis and reviled Third Reich leader Adolf Hitler, selling T-shirts featuring swastikas and the white nationalist phrase “White Lives Matter” among many other antisemitic incidents.

The U.S. is a “non-visa national” country, which means American citizens don’t need a pre-arranged visa for short-term performance-based visits to the U.K. ranging from 30 days to six months, according to official guidance rules. Among the reasons for a denial of entry are a history of criminal convictions, including conviction of a criminal offense in the U.K. or overseas which resulted in a sentence of 12 months or more. In addition, an applicant can be denied for involvement in extremism, with section 8.4 of the ETA travel code describing denials for those whose “presence in the U.K. [is] not conducive to the public good.” The latter statute appears to have triggered the travel block on Ye.

It wouldn’t be the first time the government has taken such action against an American artist with past legal issues. In 2022, Lil Wayne had to pull out of the Strawberries and Creem festival at the 11th hour after being denied entry to the United Kingdom.

The show was slated to be Weezy’s first U.K. performance in 14 years, after his 2011 U.K. shows were canceled over a rejected visa application, which, as in the 2022 case, was due to Wayne’s past criminal record, with a Home Office spokesperson explaining at the time that any person who “has been sentenced to a custodial sentence of 12 months or more must have their application refused.” The statement appeared to reference a guilty plea by Wayne (born Dwayne Michael Carter Jr.) to possession of a firearm by a convicted felon in December 2020; Wayne was later pardoned by Donald Trump on the former and current president’s last full day in office in January 2021.

Similarly, Tyler, the Creator was banned from performing in the U.K. in 2015 ahead of planned slots at the Reading and Leeds Festivals that year due to past homophobic and misogynistic lyrics. Singer Chris Brown was forced to postpone his planned U.K. tour in 2010 after his visa was denied in connection with his sentence for a vicious assault on then-girlfriend Rihanna in 2009. Brown pleaded guilty to felony assault against Rihanna in August 2009 and was sentenced to five years’ probation and six months of community service in connection with the singer’s beating of Rihanna on the eve of that year’s Grammy Awards.

Prior to the Ye travel ban, the U.K.’s Campaign Against Antisemitism also weighed in, saying in a statement, “The Prime Minister is right to be deeply concerned that Wireless wants to headline someone whose anti-Jewish bigotry has gone as far as recording a track titled ‘Heil Hitler’ less than a year ago. He is not a bystander, though. The Government can ban anyone from entering the U.K. who is not a citizen and whose presence would ‘not be conducive to the public good’. Surely this is a clear case. Pepsi has done the right thing by dropping its sponsorship of the festival, but if management are adamant that they want to headline Kanye West, it is only the Government that can stop them.”

This is a developing story….

Deborah Cox is back on Broadway: Following her stint as Glinda the Good Witch in 2024’s The Wiz revival, Cox is starring in Titanique as The Unsinkable Molly Brown.

After several successful runs elsewhere — including London, where it won the Olivier Award in 2025 — Titanique is now berthed at Broadway’s St. James Theatre for a 16-week limited engagement. Previews began March 26; opening night is April 12. Running through July 12, the musical parody of the 1997 film Titanic also stars Marla Mindelle, Constantine Rousouli, Jim Parsons and Frankie Grande.

Titanique not only marks Cox’s latest credit on a Broadway resumé that includes Aida and Jekyll & Hyde. It also represents a full-circle moment. That’s because Titanique is propelled by Celine Dion’s catalog, including Titanic’s theme song “My Heart Will Go On.” And Cox — a former backup singer for fellow Canadian Dion — is performing two tunes: a solo turn on “All by Myself” and in a trio version of “Tell Him.” It’s the first time Cox has revisited the songbook since touring with the pop icon for a year, including former president Bill Clinton’s 1993 inauguration.

“It was around ‘Beauty and the Beast’ when I left Celine’s tour to start my own career,” recalls Cox. “So it’s wild to be in a production using her music as opposed to just singing background. That’s why I tell people to trust your journey because you never know where it’s going to lead.”

Cox’s journey led to a string of R&B and dance/pop hits including her multiplatinum classic “Nobody’s Supposed to Be Here,” “Beautiful U R” and “Let the World Be Ours Tonight.” The Grammy-nominated singer has also won four Juno Awards and became the first Black woman inducted into the Canadian Music Hall of Fame in 2022.

During rehearsals for her Titanique role as Molly Brown, portrayed by Kathy Bates in the film version, Cox chatted with Billboard about what compelled her latest stage adventure, lessons learned from Dion and plans for new music.

What sparked your interest in the parody?

I’d heard murmurings about the show but had never actually seen it. I was on vacation with my family when I got an email from its director Tye Blue. There was no audition. It was literally, “I would love for you to play this role,” as he explained what type of show it is. Then there’s this incredible music and the nostalgia of it all. It was intriguing as I’ve always loved sketch comedy with female comedians like Whoopi Goldberg and Carol Burnett. So I told Tye to send me the script. And here we are.

How would you describe Molly Brown?

She’s a nerd when it comes knowing all the mechanics of a ship; very well-versed about its style and nautical language. And she survived two shipwrecks, a true story. I found all this information when I was doing research on Molly, who later used her wealth for philanthropy. She was a very caring individual when it came to women and empowerment. She didn’t like to see people victimized, so she really stood up for people that didn’t have a voice. I carry a lot of those traits as well, but not the nautical part.

The film really tells more of this love story between Rose and Jack. But [in Titanique] there’s also a cast of characters who are involved with the dynamics of what Rose and Jack are going through.

What did you learn musically from Dion while touring with her?

That period was a great introduction to seeing what type of discipline you need to maintain longevity, that kind of superstardom. She’s so fiercely disciplined about vocal hygiene like not singing or doing press before a show. She was a great example to us young singers coming up. I came to practice a lot of that in my own routine as a singer. It’s really served me.

Have you spoken to her about Titanique?

I haven’t. The last time I saw her was probably the Juno Awards. We were actually both in the same category [female vocalist of the year in 1997], which was wild. When I saw her, she again was so gracious and cool with the idea of me branching out to do my own thing; very supportive. That was the last time I saw her — because after that, she really sprung into high gear with her touring and then her Las Vegas residency.

What can audiences expect from your latest role?

My role as Glinda was very different, two brief scenes. This show has a lot more singing and dancing. It’s an ensemble piece in which we’re working with all these other actors, so it’s very active. It’s also not a show that has an intermission. So it’s like a straight 90-minute marathon, which is great.

Meanwhile, you’re four years into operating your own wine brand.

It’s called Kazaisu [Kah-Zy-Sue], named after my three children. We [she and husband/manager Lascelles Stephens] pride ourselves on being a certified organic brand. It grew out of my wanting to have another alternative from other brands out there. When I was on the road with Celine and then in my own career, I’d go to different tastings. Revisiting the idea during the pandemic, we started with an organic rosé. Our white arrived last year and we have a red that came out over the holidays. We’re slowly growing a great footprint, doing well in Canada and in Japan while also in New York, and select places in New Jersey and Florida, as we work on more distribution.

Is new music in the works as well?

I’m doing a remix of “All by Myself,” so we have that in conjunction with the show. Then I plan to do some new music. I don’t think I’ll have a full album done anytime soon, but I’m definitely working on it. People have been asking for a while now, so I’m ready to get in there and be creative.