It takes a lot of heart to let people in like this, but Ann Wilson is ready to take the leap.

On Tuesday (March 17), the Heart frontwoman announced that she’ll embark on a 10-stop North American tour to screen her forthcoming documentary In My Voice. After each screening, Wilson will participate in a live Q&A alongside director Barbara Hall (Madam Secretary, Army Wives).

Wilson is a singer/songwriter and frontwoman of the legendary rock band Heart. Coming up in the male-dominated rock scene in the ’70s, Wilson faced more than her fair share of misogyny in the music industry. Yet, she never let it stop her. Instead, she took her anger and penned “Barracuda,” a top 20 Billboard Hot 100 hit that would go on to become one of Heart’s signature songs, in 1977. Since then, Heart continued to grow as one of the biggest rock acts of the ’70s and ’80s, even earning a place on Billboard‘s list of 50 best rock bands.

Now, five decades after the formation of Heart, Wilson is sharing her story. As the title suggests, In My Voice is Wilson’s tale told in her own words. The documentary explores Wilson’s life from growing up a military child to becoming a Rock & Roll Hall of Fame inductee. Fans will get to see highlights pulled from Wilson’s archive of home movies, journals, photographs and never-before-seen footage. Wilson’s family members, bandmates and fellow artists will make cameos and share commentary on Wilson’s incredible life.

“The most important lesson I’ve learned along the long and winding road is to thine own self, be true,” Wilson says in the teaser trailer for In My Own Voice.

The film tour will kick off in Seattle on May 11 before snaking its way across the U.S., Vancouver and Toronto before concluding in Boston.

Watch the teaser for In My Voice below.

Universal Music Group’s merch and lifestyle company Bravado has promoted Matt Young to CEO, the company announced Tuesday (March 17). Young, who was previously president of Bravado, will continue reporting to UMG COO Boyd Muir.

Along with Young’s ascension, Bravado announced several other new hires and promotions. They include Eric Mackay, who has joined the company as general manager; Dan Goldberg, who joins as senior vp of strategy & new ventures; and Amy Zaglauer, who was promoted to senior vp of artist strategy. Young’s senior management team also includes Rachel Redfearn, who will continue in her role as senior vp of A&R.

Mackay, a 25-year industry veteran, joins Bravado from Warner Chappell Music, where he served as executive vp of global digital strategy. Goldberg previously built and led Fanatics’ music and entertainment division and served as senior vp of Warner Music Artist Services (now WMX). Zaglauer has been with the company since 2021 after previously serving in artist services and brand management roles at Warner Music Group, Atlantic Records and Fueled By Ramen.

Mackay is based in Los Angeles; Young, Zaglauer and Goldberg are based in New York; and Redfearn is based in London.

“Creating products for superfans is integral to how artists express their creative vision and forge lasting connections beyond the music itself,” said Muir in a statement. “Matt leads an expert, nimble team that moves quickly with the market, while staying closely aligned with each artist’s needs, ambitions, and identity. These appointments underscore our continued commitment to expanding opportunities for artists to engage and grow with their biggest fans.”

Young added, “The work we do brings fans deeper into an artist’s world in ways that are meaningful, lasting, and real. I’m excited to work alongside Amy, Eric, Dan, Rachel, and the wider team as we continue creating innovative products and experiences that turn connection into community. In the equation of Artists + Fans, we are the plus sign.”

Surely you’ve heard the rumors that longtime couple Zendaya and Tom Holland recently got hitched. Zendaya definitely has and on Monday night (March 16) she got her first chance to set the record straight when she visited Jimmy Kimmel Live! to promote her upcoming film with Robert Pattinson, the wedding drama, The Drama.

“I’m sure you know the internet has gone berserk with stories that you might actually be married to Tom,” Kimmel said about the rumor overdrive that was kicked off when Z’s longtime stylist and friend told Access Hollywood earlier this month that the couple who began dating in 2017 were already hitched. “The wedding has already happened,” Law Roach claimed at the time in a mischievous tone. “You missed it.”

Except, according to Zendaya, it didn’t. Maybe.

“Really?” Zendaya responded with a sarcastic smile to Kimmel about the rumors. “I haven’t seen any of them.” Kimmel mentioned the seemingly AI-generated wedding photos of the couple that made the rounds a few weeks ago and Zendaya was quick to note that “many people have been fooled by them.”

While Z was just out there living her life, people kept coming up to her and saying, “‘Oh my God, you’re wedding photos are gorgeous!’,” to which she would respond, “‘Babe, they’re AI. They’re not real. They’re not real.’”

Even people in her real life were fooled by the pics and, not for nothing, mad that they didn’t get invited to the wedding the Euphoria star said didn’t happen. To clear up the confusion, Zendaya brought along a video featuring footage from the alleged wedding, only it was a doctored scene from The Drama with Holland’s head clumsily pasted on top of Pattinson’s as the happy couple posed for wedding pics with family. When Kimmel noted that the video closely resembled a scene in the film, Z had jokes.

“Yeah, it was a beautiful day,” she said sarcastically, as Kimmel noted that it almost looked as if someone had “crudely pasted” Holland’s head into the scene. “No, that was real footage,” the actress said with practiced sincerity, denying the host’s claim that it was yet another AI mirage. “No, that was real,” she assured him. “I was there.”

The couple, who reportedly began dating after the actress played MJ to Holland’s Peter Parker in Spider-Man: Homecoming in 2017 and then Spider-Man: Far From Home (2019) and Spider-Man: No Way Home (2021) — as well as the upcoming Spider-Man: Brand New Day — have always been circumspect about their status.

Reports surfaced in January 2025 that the couple had gotten engaged, with neither one confirming it until months later, when Holland corrected a journalist who referred to Zendaya as his “girlfriend” rather than “fiancée” at a September press junket.

Whether they’re married or not, the happy couple have a number of projects in the works, including Zendaya’s return as Rue on the third and final season of Euphoria, which premieres in April, when she will also hit movie theaters in The Drama. She and Holland will then appear together in Christopher Nolan’s highly anticipated The Odyssey (July 17) and Marvel’s Spider-Man: Brand New Day (July 31).

Watch Zendaya on Jimmy Kimmel Live! below.

Sat Bisla has spent much of his career connecting dots that the music industry didn’t yet know existed.

Over the past four decades, the founder of A&R Worldwide has worked across radio, journalism, DJ culture and artist development, building a network that stretches from Los Angeles and London to emerging music hubs across Asia and Africa. Along the way, he has helped champion artists early in their careers while advising executives on how global music markets evolve, often long before those shifts become obvious to the rest of the industry.

Those connections eventually led to the creation of MUSEXPO, the annual conference Bisla founded in 2003 that brings together A&R leaders, managers, publishers, tech companies and artists from around the world. Now entering its 26th edition, the Burbank-based event has built a reputation as one of the industry’s more relationship-driven gatherings, where conversations frequently turn into collaborations, deals and long-term creative partnerships.

The 2026 edition will once again draw a wide cross-section of the global music ecosystem, with speakers spanning label executives, artists, media leaders and technology innovators. Among them is Mo Ghoneim – president of Billboard U.K. and Billboard Canada and founder of ArtsHouse Media Group, the company behind Rolling Stone Canada and the NXNE Festival – who will appear on the conference stage to discuss culture, innovation and the future of the global music business.

The idea for MUSEXPO, however, started far more casually. What began as a small dinner gathering for friends in the industry quickly grew into something much larger. “Honestly, that was another thing that happened purely accidentally and organically,” Bisla recalls. “Within about a year and a half or so, people are flying in from all over the world to attend the dinners.”

The turning point came when BBC Radio 1 executive Alex Jones-Donnelly attended one of those gatherings and encouraged Bisla to turn the concept into something more. “He said, ‘Look, I get more insights and more business done at your dinners than any conference I’ve ever attended. You should do a conference, but keep the spirit of the dinner.’ And that’s how MUSEXPO started.”

More than two decades later, that philosophy still shapes the event’s atmosphere. As Bisla puts it, the goal was never to build another transactional industry summit, but a space where relationships and ideas could grow naturally.

Ahead of MUSEXPO 2026, Billboard UK spoke with Bisla about his career, the evolution of artist discovery, the impact of AI on music and why he believes markets like India are approaching a new global moment.

You’ve worked across radio, DJing, journalism and A&R. How did your journey in the music industry begin?

For me, I was always a music fan and that’s really how it started, by just being a music fan. My first professional entry points into the music were through radio when I was a teenager. I went to the local radio station in Central California and asked all of the DJs to play records by artists I had been listening to in the U.K. Eventually, one of them said, “Why don’t you come by the radio station and play me these artists?”

I did, and he loved the music. I started playing them on his show and he said, “Look, in return, what I’ll do is teach you everything I know about radio if I can play your records.” And that’s really how it started.

You’ve now spent more than four decades in the business. What has kept you passionate about the industry for so long?

I think the one thing that keeps me passionate, motivated and relevant is being a constant student. There’s always something to learn in the music business – new artists, new songwriters, new technologies, new platforms. You never stop learning. I always remind myself that being a constant student is what keeps you going in this business.

Your career has moved through many different roles. Did working in radio shape the way you approach A&R and artist discovery?

Being in radio teaches you a lot of interesting perspectives because you have to serve the audience. It’s not what you like – it’s what the audience likes. And you live and die by the ratings. Even though I was playing a lot of unfamiliar music, my program director told me something that really stuck with me. He said, “If you’re going to play unfamiliar music, make sure it sounds familiar.”

Even to this day I live by that mantra, and it’s worked not only for me but for the audience and the artists.

You’ve helped champion artists early in their careers. Are there moments that stand out when you believed in someone before the industry caught on?

There have been quite a few. Muse was one of them. Coldplay was another. I remember hearing “Yellow” early and thinking, “I think these guys are one of the biggest bands in the world.”

With Adele, I was the first person in the world to do her radio interview and also play her music outside of the U.K., because she didn’t have a deal at the time in the U.K. or the U.S. There have also been artists like Sheppard from Australia, who became Australia’s biggest-selling band in modern times. They had no deal when we started supporting them.

The way artists break today has changed dramatically with social media. How do you view platforms like TikTok and Instagram in the discovery process?

Those platforms are important, and we’ve discovered artists through those platforms. But I also like to see artists live because live is such a big driver of revenue for artists and also for developing and maintaining a fan base. It’s also important to sit down with artists and really understand who they are as people.

You can get a certain psychology from social media, but it’s not until you actually talk to them that you understand who they are at their core. You could be the most talented person in the world, but if you’re not likable and you’re wasting people’s time, most A&R people will step away from that opportunity.

What do you think the industry still gets wrong when it comes to nurturing new talent?

I think there are two mindsets in the music business today. There are those who are in the music business, and there are those who are in the business of music. And there is a difference.

Whether it’s investors or companies that are looking at the transactional side of the business, where it’s all about revenue and not about the art and then some focus on the art, knowing that if the artist is exceptional, the revenue will follow. For me, music is personal. To others, it’s transactional. It’s just a commodity.

You’ve also spent time advising executives and artists across emerging markets. How did that global focus develop?

Back in the late ’90s, I started helping executives, managers, publishers and booking agents better understand global markets. At that time, very few people were really focused on international markets. That allowed me to understand the psychology of different territories and the people who were helping move those markets forward.

I became involved early in China in the late ’90s and early 2000s, and also in South Korea before the K-pop boom happened. We also worked a lot in markets like South Africa and Nigeria about 15 or 20 years ago, and later in India and South Asia.

What drew you to India’s music ecosystem specifically?

I started getting involved in India around 2008. A friend of mine told me that India was going to happen – that it was Bollywood-centric at the time but that things would eventually change. So I started going there and working with people like Vijay Nair and meeting others who were helping build the modern Indian music business.

It’s nice to see what’s happening there now. And I think it’s important for us to give back to the places where our parents and grandparents come from. India is still in my DNA.

What makes MUSEXPO different from other industry conferences?

There are panels and keynotes like other conferences, but the vibe is very different. People are much more relaxed and open to talking with each other. It’s a very calm atmosphere but still high energy. It doesn’t feel transactional, it feels personal.

Artificial intelligence is another major shift happening in music right now. How do you see it affecting the industry?

We’ve gone through many transformations in the music business – from vinyl to CDs, CDs to MP3s, and MP3s to streaming. Every time that happened, people said it was the end of the industry. But I see AI as an opportunity.

I look at AI in two forms: actual intelligence and artificial intelligence. You never want more ketchup than French fries. AI is the ketchup – it adds something extra – but the actual intelligence and human creativity are the French fries.

After such a long career, what still motivates you today?

On a personal level, my proudest moments are being a good father, a good son and a good husband. On a professional level, it’s about making a difference. Whether you make a difference big or small in someone’s life, it’s very fulfilling.

Right now, I’m focusing on helping people navigate the challenges happening around the world and trying to create something positive out of difficult situations. With chaos comes opportunity. And when there’s opportunity, chaos follows.

The cancellation of Bluesfest 2026 is already sending shockwaves through the touring ecosystem, with Counting Crows frontman Adam Duritz warning that many acts on the festival’s bill may cancel their entire Australian runs — and that the fallout could discourage international artists from returning to the country in the future.

Duritz, whose band are currently touring Australia in support of their latest album Butter Miracle, The Complete Sweets!, confirmed that Counting Crows would not be cancelling their own shows — three of which are sold out — but painted a stark picture of the financial reality facing many of their peers on the bill.

“That’s going to be devastating for a lot of people’s bottom line because you set up a tent pole like Bluesfest, where for a lot of people, it’s probably the highest paying gig on the tour,” Duritz told News.com.au. “And then it just goes, especially when it goes in this way.” He added that most acts had likely not received upfront payment for their Bluesfest performances and that insurance is unlikely to cover the shortfall following the festival’s liquidation.

The structural economics of Australian touring, Duritz explained, make it nearly impossible to profit even under ideal conditions. Without the anchor of a major festival fee, the math gets worse.

“There’s all these bands coming, and if you’re Buddy Guy or you’re The Wailers or you are The Black Crowes, none of those bands are making a gazillion dollars right now touring,” he said. “And you plan a trip to Australia; you’re going to be barely breaking even or losing some money… it spreads out to the other promoters who have got all these gigs planned.”

Despite his own band’s commitment to their dates, Duritz said he believes others on the cancelled lineup will pull the plug. He also cautioned that the incident would linger in the minds of international artists weighing future Australian runs. “Believe me, there’s no one on earth who doesn’t want to come to Australia every year; it’s f—ing beautiful, people are great,” he said. “But it’s so expensive to tour here. You don’t have buses here because it’s too big, so all the travel is flights. We’re a rock band, and we want to play in Australia, but it’s a struggle not to lose money.”

Butter Miracle, The Complete Sweets!, released May 9, 2025 via BMG, is the band’s first full-length studio album since 2014’s Somewhere Under Wonderland and their eighth overall. Counting Crows released six albums that reached the top 10 on the Billboard 200 during their peak run, including Recovering the Satellites, which debuted at No. 1 in 1996.

Bluesfest 2026 was cancelled on March 13 after organizers cited rising costs and soft ticket demand, with a liquidator appointed to manage financial matters.