It’s time for another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. Check out this year’s Pride List of top LGBTQ+ executives in the industry. We also have a weekly interview series spotlighting a single executive and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.

Universal Music Sweden managing director Joakim Johansson has been promoted to president of the entire Nordics region for Universal Music Central Europe. He’ll continue MD’ing on the Sweden side but adds oversight of UMG operations in Denmark, Norway and Finland, as well as the Baltics (Estonia, Latvia and Lithuania). The individual directors of those markets (Casper Bengtson/Denmark, Kimmo Valtanen/Finland and Bjørn Rogstad/Norway) will now report directly to Johannson, who continues to beeline to Frank Briegmann, chairman & CEO of UMCE and Deutsche Grammophon. Johansson’s expanded role aligns with Briegmann’s ongoing strategy to amplify cross-market collaboration and innovations throughout Central Europe. Johansson joined the company in 2013 as GM of Universal Music Sweden, being promoted to MD six years later. “The Nordic countries boast a rich musical heritage and are at the forefront of industry innovation,” he said. “It’s an honor to lead our talented team in this vibrant region, and I look forward to driving our vision into the future.”

Audacy elevated journeyman Jeff Sottolano to chief programming officer, effective immediately. Sottolano, who joined CBS Radio in 2001 as an intern and has served as executive vp and head of programing since 2021, will now oversee content strategy and creation in all formats across broadcast, streaming and podcasts, as well as work with product and technology teams on ways to improve creator tools and more. Over a 15-year stretch at CBS, which was acquired in 2017 by Entercom (later Audacy), Sottolano held programming roles in Rochester and Philadelphia before joining the front office in 2014 as director of programming. During the Entercom era, he rose to executive vp of programming, which carried over following the post-Audacy rebrand. For most of the last decade, Sottolano’s brand portfolio has gained market share in the A25-54 demo and he has led numerous company-wide initiatives including Audacy Launch, the company’s new music discovery platform for rising artists. “I consider myself so fortunate to work with our programmers, talent, anchors, reporters and producers who, together, build incredible brands, entertain and inform, and make a difference in the lives of millions of consumers every day,” said Sottolano.

Spirit Music Group appointed Lou Al-Chamaa to executive vp of A&R, a role based in Los Angeles and reporting to Spirit’s chief creative officer, Frank Rogers, who lauded the new hire’s “drive, passion and experience in building successful writer rosters” while in senior roles at AVEX USA, Sony Music Publishing and during his time as a consultant. “The opportunity to collaborate with such a forward-thinking team and contribute to the evolution of music creation is incredibly inspiring,” Al-Chamaa said. “I am deeply committed to fostering an environment where artists, songwriters, and producers can thrive creatively.”

Capitol Christian Music Group boosted its A&R efforts at a pair of its most storied imprints. Walter Thomas is promoted from director of artist development at CCMG to the new position of vp of artist development for Motown Gospel and TAMLA. Thomas, who joined the UMG label group last year, reports to CCMG co-presidents Brad O’Donnell and Hudson Plachy. Working closely with Thomas is Alexandria “Dria” Dollar, who joined CCMG in the role of senior director of A&R at TAMLA and Motown Gospel following a stretch as director of A&R at Reach Records in Atlanta. “These iconic labels have a legacy of inspiring and uplifting music,” said Thomas, adding that “Alexandria’s innovative approach and keen ear for talent are unmatched, and I am confident that together we will elevate our artists to new heights.”

Warner Records added Kelly Bolton as vp of A&R. Working out of Nashville, Bolton will work with Warner co-chairman/CEO Aaron Bay-Schuck on signing, developing, and cultivating country artists for the Los Angeles-based label. Bolton will report to executive vp and head of A&R Karen Kwak. Over the past few years, Warner has added artists including Zach Bryan, Dasha and Warren Zeiders to its roster. Bolton most recently served five years at Ashley Gorley’s Tape Room Music, rising to senior vp of A&R. Prior career stops include Big Deal Music and Black River Entertainment. –Jessica Nicholson

RADIO, RADIO: Vox co-founder Melissa Bell is the next CEO of Chicago Public Media, non-profit owner of WBEZ and the Chicago Sun-Times. She succeeds Matt Moog and officially starts Sept. 3 … Not so fast on that retirement, Joe Verbrugge. SiriusXM‘s chief commercial officer was supposed to depart yesterday (June 27) but will instead remain in place until July 31 before switching to a part-time role as advisor to the CEO through the end of the year.

Wasserman Music added three veterans to its global ranks as it looks to build on the firm’s suite of client services. Joining the London team as manager of tour marketing is Adam Clements, who has 15 years of experience between stops at Birmingham’s O2 Academy and O2 Institute, Eventim UK and AEG Presents. Over in Chicago, Oskar Muller joined as director of pricing & ticketing (Chicago) after serving as pricing director at Live Nation Entertainment. Finally, in sunny L.A., Jenn Rilloraza joined as manager of brand partnerships following time as director of marketing, brands and creative services for Create Music Group’s VRTCL vertical. “We are relentless in continually creating new ways to serve our valued clients around the world, and these important new additions to Team Wass reflect that,” glowed Wasserman Music president Lee Anderson.

The Academy of Country Music made promotions and new hires across several departments. Tommy Moore has been promoted to chief of staff and vp, industry relations & awards, board administration and governance. Kris Reyes has been promoted to senior director of finance, operations and HR. Meanwhile, Jesse Knutson has been elevated to director of publicity and media relations. Haley Montgomery has been elevated to director of industry relations & awards, while Jennifer Davis has been promoted to senior manager of events. Brittany Uhniat has been promoted to manager of content & creative production. New hires include Katie Casserly as coordinator of social media, with Maggie Feyrer hired as coordinator of strategic partnerships and Delaney Loughran as assistant, industry relations & awards. –J.N.

BOARD SHORTS: The Association of Music Producers elected Matt Nelson of Yessian Music as the ad music trade group’s new president of its national board. Nelson, who joined the board’s eastern chapter six years ago, succeeds Carol Dunn as national board president. Succeeding Nelson as president of the eastern chapter will be Made Music Studio executive Amy Crawford … The International Bluegrass Music Association elected two new members of its board and welcomed the return of a third. After a year away, former IBMA board chair Mike Simpson is back, and joins newcomers CJ Lewandowski and Annie Savage as board officers … Musicians On Call appointed True Public Relations co-owner Marcel Pariseau and songwriter Sam Hollander to its national board of directors.

Dylan Brewer, a veteran label executive and experiential marketer, launched a new creative music company dubbed FRAUDULENT. Since forming, the Los Angeles-based firm has already worked on campaigns for Laufey (alongside Microsoft) and Jessie Reyez. The two-time Clio award winner was most recently vp of marketing and head of experiential at Epic Records, working on a roster including Ozzy Osbourne, Madison Beer, Bakar, BEAM, AG Club, Headie One, J Hus and more. Prior to joining Epic in 2018, Brewer was a marketing and strategy lead at Def Jam Recordings for over three years, and earlier in his career produced music campaigns at Google. Reach out to Brewer at hi@fraudulent.live.

WHY&HOW added veteran artist manager Patrick Farr to its management team, based in Nashville. Farr arrives following six years at his own Revelator Management company, and another six at Philymack before that. During his career he has worked with such artists as Nick Jonas, DNCE and Demi Lovato, as well as Sophia Scott, who comes with him to WHY&HOW. “Not only does Patrick bring immense experience, but a fitting addition to our roster in Sophia Scott,” said WHY&HOW founder & CEO Bruce Kalmick. “I’ve been a fan of Patrick’s work ethic and savvy approach to artis development for a long time – we look forward to having him jump in with our team.”

NASHVILLE NOTES: Lauren Thomas was promoted to Columbia Nashville svp of promotion from vp and will have a day-to-day role with both the Columbia and RCA Nashville imprints … Big Machine Label Group promoted Ashley Sidoti to svp of promotion and digital for its Valory Music Co. imprint. Sidoti most recently served as vp of promotion and digital … The Gospel Music Association appointed veteran producer, marketer and network leader Steve Gilreath as executive director of the Christian & Gospel Music Museum at the Dove Center. Gilreath will report directly to Jackie Patillo, president of the Gospel Music Association … The Academy of Country Music is looking for a director of brand creative and design, as well as a director of strategic partnerships. View the listings here.

Influencer marketing agency VRTCL elevated Imani “Mango” Lewis to director, overseeing operations for the entire VRTCL team. Lewis, who is based in Los Angeles, joined VRTCL in March 2021 as music department manager before rising to head of music — and then director of music — last year. Recent wins for the viral content firm include campaigns for Beyonce’s “Texas Hold Em,” Kasha’s “Austin” and Lil Durk’s “All My Life.” “Imani’s exceptional talent and dedication have consistently driven some of our most successful influencer campaigns in recent years,” said Ash Stahl, CEO of umbrella company FH Media. “Her innovative strategies and unwavering commitment to excellence make her an invaluable asset to the VRTCL team.”

BSI Merch, a UK-based independent music merch and tech company, selected Charlie Simmonds to lead its expansion into the Asia-Pacific market. Located in Tokyo, the new outpost will primarily focus on e-commerce, merch supply, tour support, sales and superfan-related services. “By focusing on e-commerce and localising our services, we aim to deliver world-class support and grow our presence in this key market,” said Andy Allen, CEO. Throughout his career, Simmonds has worked with such artists as Billie Eilish and Sticky Fingers, and events including New York Comic Con and Signature Brew.

ICYMI:

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UK Music made it official, appointing interim chief Tom Kiehl as full-on chief executive of the music trade body. He succeeds Jamie Njoku-Goodwin, who left last year to work for soon-to-be former Prime Minister Rishi Sunak … Music agent Cheryl Paglierani joins CAA from UTA, where she served as a partner … Rodrigo Prichard was named general manager of Rimas Entertainment, effective July 1. Meanwhile, Kristen Quintero-Garriga has been named vp of brand partnerships under RIT.MO.

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Last Week’s Turntable: SXSW London Staffs Up

Months into writing a new song with Chappell Roan in 2023, Dan Nigro hit a wall. The Grammy-winner songwriter-producer had tried just about everything he could think of with the bubbling under pop phenomenon — boosting the production, cleaning up the lyrics, adjusting the key — and yet the song still didn’t have that special X factor they were looking for.

“We kept on getting so frustrated,” Nigro tells Billboard. “We knew that something about it was really special, but we could not figure it out. Was it the key? Was it the verses that needed to feel more spunky?”

But once the duo found what they were looking for in the stratospheric chorus, the song transformed into Roan’s runaway hit, “Good Luck, Babe!” Since the song’s release in April, Roan (born Kayleigh Rose Amstutz) has become one of the most talked-about voices in mainstream pop music. The single marked her first entry on the Billboard Hot 100, debuting at No. 77, and has risen to No. 16 on the June 29-dated chart, with three of her other songs — “Red Wine Supernova,” “Hot to Go!” and “Pink Pony Club” — populating the lower half of the list. Meanwhile, her debut album, The Rise and Fall of a Midwest Princess, reaches a career-high at No. 8 on the Billboard 200.

It shouldn’t come as a surprise that a track co-penned by Nigro is finding such breakaway success. Over the last several years, the songwriter has cemented himself as one of the most sought-after writers in the business, helping write hits for pop artists including Olivia Rodrigo, Caroline Polachek, Conan Gray and others. But in working with Roan, Nigro says he’s found something especially exciting.

“When we made [her May 2020 single] ‘California,’ which was the second song we wrote together, I had this feeling like I was a part of something deeply special,” Nigro says. “It felt magical and deeply relatable … and really important, [because] she was making it so that it felt important.”

Nigro breaks down the “intense” process of writing “Good Luck, Babe!,” its runaway success over the last two months and why he knew early on that Chappell Roan was destined to be “a superstar.”

Tell me about the beginning of the process with “Good Luck, Babe!” — where did the original idea for the track come from, and when did you begin working on this?

Kayleigh, Justin [Tranter] and I actually started the idea in November of 2022. We wrote a scratch idea — it was just a verse and a chorus. The idea was originally called “Good Luck, Jane” — Kayleigh was really set on having it be a name.

It’s a song we wrestled with for a while. We laid down a demo, and the two of us felt like it wasn’t right. We knew something was special about the song, but we couldn’t tell what it was that we were getting wrong. So, we worked on it for a day, we put it away, and then a few months later, she came in for something else, and she was like, “What about that one song we wrote? I feel like there’s something there.”

Kayleigh’s voice is crazy across all of her songs, but it feels like she is in rare form on “Good Luck, Babe!,” where she’s almost expressing the entirety of her vocal range on one song.

Absolutely. When we opened it back up, we really narrowed in on the chorus and decided that some of the words needed to be in full voice. And then all of a sudden, we listened back and went, “Okay! I think we’ve figured it out!” Once we finally got it, it was such a relief. That song was so intense, and it was definitely one of the hardest songs to get right.

Kayleigh and I are not the people who go in the studio and write a song in one day. We take our time with it, comb over the lyrics and then forget about it for a month and come back to listen with fresh ears. A lot of times when you’re working on a song, in the midst of working on it, you tend to get really excited about it, and then you look back later and go, “Oh, that wasn’t as good as we thought it was.” Luckily, Kayleigh is so good at having that insight and knowing [when] to take a step back and reflect on it. She’s so incredible at having that self-awareness. She’s also such an incredible singer — which is a great thing, but because she often sounds really good singing any song, figuring out the difference between something being really good and being amazing can be tricky.

I know Kayleigh has said this song was “a b-tch to write,” and that very much tracks with what you’re describing here.

For sure. Though, it’s funny: To me, it wasn’t actually that much of a b-tch to write. I feel like it was the production and the process that was really tough. Actually writing the song was quite fluid. I remember she came over one day, and I was like, “Well, now we need a bridge.” She wrote the bridge all on her own in like two minutes. She said, “Put the pre-chorus chords on,” I looped it, and she just got on the mic and went for it. I was trying to keep looping the chords more because she just kept singing, and I was like, “No, we have to go further!” It was amazing.

You mentioned that the original version of the song you wrote with Justin had really different verses lyrically — what would you say fundamentally changed between that first draft and the final version?

I don’t exactly remember what the verses were to begin with, just because it’s been so long since we wrote them. But I do remember that we wanted the words to feel more effortless. We wanted to make sure it had that casual, cool, laid-back feeling to it. The lyrics were a little bit more pointed, a little more cutting. We chilled it out, and then she was sitting on the couch at one point, and she said, “I just want to have a line in there about my arms reaching out of a sunroof.” It was so funny.

At what point in this process, if at all, did you think that “Good Luck, Babe!” was going to be a hit?

When a song is difficult to get right, especially from the production side of things, I become so self-conscious of it that I can never see it super clearly. Also, “Good Luck, Babe!” is so dramatic — I tend to keep my productions pretty minimal for the most part. But “Good Luck, Babe!” is such an epic production — there are like 100 string parts! When I’m adding that much production, I tend to feel like I’m doing too many things. So, I don’t think there was any point in that process where I was like, “Oh, this one’s going to be a hit.”

I remember she texted me the day the song came out, just being excited about the song. Then her manager texted me and said, “This one feels special, this feels different right now.” That is, to me, the crazy thing about being able to see the numbers in real time: You have absolutely no way of knowing, and then within 12 hours, people can tell you, “Oh yeah, audiences are really liking this one.”

It seems clear that “Good Luck, Babe!” really cemented this cultural moment for Kayleigh: The song has climbed into the top 20 of the Hot 100, “Red Wine Supernova,” “Hot to Go!” and “Pink Pony Club” have all entered the Hot 100, and The Rise and Fall of a Midwest Princess continues to climb on the Billboard 200, reaching the top 10.

It is crazy to watch. This feels like … I don’t want to say “destiny,” that’s the wrong word to use. It all happened for a reason. This song was made during the making for Rise and Fall, and to me, it felt like it could have easily been on the record. I’d like to think that because it came out at a different time, it held a different meaning and it was a different vessel for the album. Whereas, if it came out with the album, then the record would not be what it’s doing right now.

Why do you think this moment is happening right now, rather than with the album’s release last September?

All I can say is, three or four days into meeting her, I was convinced she was a superstar. I was so enamored by the way she thought about music, and I could not believe I was a part of it, because it felt magical and also deeply relatable. When we made “Pink Pony Club,” that was the record where it felt like we were making something actively powerful. It was that sort of feeling where you get the sense that you’re making a song that people need. I’ve always felt that something like this was going to happen for her; the question was just when it would happen.

The fact that she’s so phenomenal live means people are finally able to see in real time how good she is. That then becomes this word-of-mouth thing, and it’s wonderful to see her have such old school success. I’ve told so many people, “This is the way things used to be — you would have to see the artist live, and you see them be good at what they do and then spread the word.” She’s so good at what she does that the system is working again! It really is that simple.

That’s an important point — while a lot has happened in the last two months, this wasn’t “overnight” success. Chappell had been steadily growing before “Good Luck, Babe!” blew up.

I totally agree, it’s not “overnight” success in any way — even since the record came out nine months ago, every single day, the numbers were steadily going up by like a percentage each week. It just took so long to get to the point where enough people were talking about it every day for it to become exponential.

You’ve had a lot of success working with pop stars like Olivia Rodrigo, Conan Gray and Caroline Polacheck — is there anything about working with Chappell that feels different than your other collaborators? Or what things feel similar in the way you work with all of those artists?

If I’m being honest, I always feel weird when asked to compare people. I think the important thing is that she’s incredibly articulate about what she wants out of a song, and we have a great relationship when it comes to creating music. We’re writing songs together, but we’re also producing them together, and she’s in the room for a bunch of it. There’s a really good language between us when it comes to making music. I can understand what she’s looking for, and if I’m not getting something right when I’m producing, she can step in. She’s so good at explaining exactly what she wants, and it makes for a really good flow in our working relationship.

A version of this story originally appeared in the June 22, 2024, issue of Billboard.

Gracie Abrams lands her first No. 1 in Australia as The Secret Of Us (via Interscope/Universal) debuts at the summit.

The Californian singer and songwriter’s sophomore album thrashes the No. 30 best for her first LP, 2023’s Good Riddance.

Abrams is very much part of Taylor Swift’s #Squad. She has opened in various markets on Swift’s ongoing The Eras Tour, and the pop superstar collaborated with Abrams on The Secret Of Us track “Us,” which bows at No. 25 on the latest ARIA Singles Chart – the week’s top debut.

With her best-selling start, Abrams leads a trio of female solo artists on the ARIA Chart, published Friday, June 26, ahead of Billie Eilish (Hit Me Hard And Soft, down 2-1 via Interscope/Universal), Taylor Swift (The Tortured Poets Department, down 2-3 via Universal) and Charli XCX (Brat, up 5-4 via Atlantic/Warner), respectively. U.S. country star Morgan Waller completes the top five with One Thing At A Time (up 7-5 via Mercury/Universal).

There’s no doubt about it, Chappell Roan is having a moment. The rising pop star makes her first appearance in the top 10 with her 2023 debut album The Rise And Fall Of A Midwest Princess, lifting 14-7, while her standout track “Good Luck, Babe!” lifts 20-12 for a new peak position on the national singles tally.

Close behind, Brisbane, Australia-formed pop band Sheppard mark their return to the ARIA Chart with Zora (Empire Of Song/MGM), their fourth studio album. It’s new at No. 8. Now based in Nashville, Sheppard cracked the top 10 with 2014’s Bombs Away (No. 2), 2018’s Watching The Sky (No. 1) and 2021’s Kaleidoscope Eyes (No. 2).

Over on the ARIA Singles Chart, Sabrina Carpenter retains top spot for a second week with “Please Please Please” (Island/Universal). Meanwhile, Shaboozey’s “A Bar Song (Tipsy)” (via Empire) improves 3-2 for a new peak position, and Carpenters’s former leader “Espresso” dips 2-3.

Further down the list, Tommy Richman bags a top 40 with “Devil Is a Lie” (via Conchord/Universal), the followup to his No. 1 hit “Million Dollar Baby.” “Devil Is a Lie” is new at No. 27.

Finally, Post Malone’s country era notches another top 40 as “Pour Me a Drink” (Universal) with Blake Shelton” opens at No. 33. It’s the followup to “I Had Some Help” with Morgan Wallen, currently up 6-4 in its seventh week on the tally.

Between a world-stopping Super Bowl performance, an upcoming arena tour, and a very special honor from ASCAP, Usher just keeps finding ways to make 2024 “Good Good.”

On Thursday (June 27) at The London West Hollywood in Beverly Hills, Billboard 200 and Hot 100 chart-topper Usher, decked out in an all-black ensemble and shades, received the Voice of the Culture Award in front of an adoring crowd of peers and press. Victoria Monét, who took home the best new artist Grammy at the top of the year, accepted the prestigious Vanguard Award in a stunning midriff-baring blue dress.

The Voice of the Culture Award is presented to ASCAP members who have had a major influence on music and culture, recognizing their success as creators and changemakers. Past recipients of the award include Timbaland, Swizz Beatz, D-Nice and T.I.

The Vanguard Award is presented in recognition of ASCAP members whose innovative work is helping to shape the future of music. Janelle Monáe, Kendrick Lamar, The Strokes, and Billie Eilish are past recipients.

The night kicked off with a red carpet on the hotel’s rooftop, which included appearances from Erica Campbell, T.I., Omarion, Ernest Isley, Alex Isley, Deputy, Nascent, Jimmy Jam & Terry Lewis, Johntá Austin, The Avila Brothers, and more. Several stars took a moment to speak with Billboard, including Campbell, who revealed her favorite gospel song from a songwriting standpoint. “What comes to my mind first is ‘Trust In God’ by The Winans,” she said. “The way the song is crafted, the emotions in the song, the lyrics — it’s hopeful but it’s God-centered. Even if it’s a gospel song, it still needs to be well-written and that song is a perfect example.”

Acclaimed father-daughter unit Ernie and Alex Isley also posed for pictures together, with Alex revealing her “holy grail” of R&B songwriting — which included her father, Mariah Carey, Dianne Warren, Michael Jackson and Quincy Jones — and Ernie reflected on working with Lamar on 2015’s To Pimp a Butterfly in light of his recent beef with Drake. “They’re both great,” he said. “It was fun working with [Kendrick,] and I imagine we’re gonna do some more stuff with him not too long from now.”

In that vein, T.I. also reflected on his own diss track legacy, reacting to his No. 15 (“What Up, What’s Haapnin’”) on Billboard’s 15 Most Scathing Hip-Hop Diss Songs of All Time list. “This is a spectator sport, that’s what the spectators said! As a contributor to the culture, I’m just happy to be on people’s minds,” he said, before naming Tupac’s “Hit ‘Em Up,” Nas’ “Ether,” Jay-Z’s “Takeover,” Dr. Dre’s “F–k Wit Dre Day” and Ice Cube’s “No Vaseline” as his picks for the best-written diss tracks in hip-hop history.

Lil Baby — whose “Forever,” “Freestyle,” “Heyy” and “Hurricane” were all cited as winning songs — received the first honor of the night, taking home songwriter of the year for a third non-consecutive year. He previously won in 2021 and 2022. In a speech that lasted under 30 seconds, the chart-topping rapper thanked his team and the ASCAP organization.

Monét offered a lengthier — and notably melodic — acceptance speech when she received her Vanguard Award. After recounting how she looked up the meaning of “vanguard” once her team notified her of the honor, Monét said, “Although I do view myself as a leader… my brilliant team stands right beside me, never behind me. We all have been on the very frontlines together on this road to success meticulously, converting every non-believer into a believer with hard work and consistency. We shoot, not eye level, but for the stars — and it truly takes a strong team to go from underdog to vanguard.”

The Vanguard Award is just the latest in a string of recent honors for Monét. She won three Grammys on Feb. 4 – best new artist, best R&B album for Jaguar II and best engineered album, non-classical, for that same LP. “On My Mama,” a Grammy nominee for record of the year, hit No. 33 on the Hot 100, marking her highest-ranking unaccompanied entry on the chart. On March 6, Monét received the rising star award at the Billboard Women in Music Awards. The “Alright” signer capped off her acceptance speech by promising her daughter (and fellow Grammy nominee) Hazel that she would continue to show up as her best self every day.

Parenthood also served as a key talking point for Usher, who delivered a rousing twelve-minute speech to accept his Voice of the Culture Award. After a pair of touching introductions from ASCAP president Paul Williams and Dupri — who’s currently cooking up new music with Ari Lennox and Young Dylan — Usher took the stage, doling out infinite thanks to the many friends, family members, team members, and mentors who have helped him navigate his groundbreaking 30-year career. “I have a lot of people that I want to thank, but I did want to say something that I felt would be meaningful, and that is the importance of collaboration,” he said. “No one man is an island. We have to work with each other. Sometimes, the vision that we have can be carried all the way across to its full potential if you’re able to share.”

In addition to shouting out his fellow honorees and paying tribute to key players such as L.A. Reid and Mark Pitts, Usher dedicated half of his speech to his two eldest sons, Usher “Cinco” V and Naviyd Ely. Shortly after the “Burn” singer revealed that one of his sons is “really adamant” about being an artist, he reflected on his own experience having an absentee father in the context of helping his son achieve his dreams.

“While we can stand on these stages and say, ‘Mom, I made it,’ it’s not often that we get the opportunity to say ‘Look, dad! I did it!” That s— was hard,” Usher said. “You don’t understand how hard it was to say because the reality is, I was saying it to a father who wasn’t there…. I’m very happy to say to you, continue to love on your kids. Continue to take the time to listen to them, encourage them, and make them a part — if you listen to them, they have very valuable things to say.”

With the Past Present Future Tour fast approaching (Aug. 14) and new music possibly on the horizon — “We got new s— that we makin’ too!” he quipped — Usher’s banner year is showing no signs of slowing down.

The ASCAP Rhythm & Soul Music Awards recognize the songwriters and publishers of the most-performed songs of the past year based on Luminate data for terrestrial and satellite radio and streaming services, as specified by ASCAP Rhythm & Soul Music Awards rules.