A federal appeals court issued a first-of-its-kind ruling that says musicians can enforce U.S. copyright termination rules across the globe, adopting a novel legal theory that record labels and publishers have warned will disrupt “a half-century of settled industry norms.”

Upholding a lower court decision last year, the U.S. Court of Appeals for the Fifth Circuit ruled Monday (Jan. 12) that songwriter Cyril Vetter could win back full global copyright ownership of the 1963 rock classic “Double Shot (Of My Baby’s Love)” from publisher Resnik Music Group.

What makes the ruling notable is the overseas reach. Termination, a crucial copyright provision that allows authors to recapture their rights decades after they sold them away, has only ever applied to American copyrights and had no effect on foreign countries. But the appeals court said that was not how Congress intended termination to work.

“The Copyright Act of 1976 enables authors and artists to recapture their copyrights in works they may have [sold away],” the Fifth Circuit wrote Monday. “The district court’s holding that Vetter is the sole owner of [the] copyright throughout the world … conforms with this purpose.”

The ultimate goal of termination, the court said, is to correct “unequal bargaining power” by giving artists and authors a chance to retake rights they’d sold away before they realized they were valuable. Applying that rule only to domestic copyrights would deprive artists of the “full set of rights” they had sold, the court wrote.

If adopted in courts across the country, the ruling will be a boon for songwriters. Under existing precedent, publishers often continue to own foreign rights even after a U.S. termination, giving them potential veto power over cross-border projects and a big bargaining chip in negotiations. Under the new ruling, songwriters would get back all of their rights, not just their American copyright.

In a statement to Billboard, Vetter’s attorneys Tim Kappel and Loren Wells praised the court’s decision: “We are clearly pleased with this watershed ruling, and believe it is the correct result. The impact of this case will benefit creators in all disciplines, not just the music business.” An attorney for Resnik did not immediately return a request for comment.

In siding with Vetter, the appeals court adopted a novel approach to terminations. After the initial ruling by a lower judge last year, legal experts said the case was “breaking with existing precedent” and would be a “major upheaval” if upheld. One attorney said it might be “financially devastating” for large entertainment companies.

Ahead of Monday’s ruling, the major record labels and music publishers had strongly urged the Fifth Circuit to overturn the decision. In a legal brief filed in the case, the Recording Industry Association of America and the National Music Publishers’ Association had both warned that the case would deprive labels and publishers of previously-unquestioned rights to “control how their works are commercially exploited around the globe.”

“The district court’s decision unsettles the bedrock understanding of foreign exploitation rights against which tens of thousands of agreements respecting recorded music and music publishing copyrights have been drafted, negotiated, and executed,” attorneys for the two groups wrote.

Resnik can appeal the ruling, first by asking the entire Fifth Circuit to reconsider, and then by taking the case to the U.S. Supreme Court. Because the case splits with what other circuit courts have said about termination, the case could have better-than-normal odds of review by the high court.

Lil Uzi Vert captures the crown on Billboard’s Hot Rap Songs chart for the first time in three years as “What You Saying” leads the list dated Jan. 17. The single, released on Cor(e)/Roc Nation, rises from the runner-up spot – where it debuted last week – to become Lil Uzi Vert’s third No. 1 on the chart.

Streaming contributes the overwhelming share of the “What You Saying” activity on the multi-metric Hot Rap Songs chart. For the tracking week of Jan. 2-8, the single registered 11.9 million official streams in the United States, up 23% from the previous week’s count of 9.7 million, according to Luminate, and enough to seize the No. 1 rank on the Rap Streaming Songs list. “What You Saying” also earned 853,000 U.S. radio audience impressions for a 300% week-over-week increase as its radio campaign begins, and sold a negligible amount of download purchases.

With the new champ, Lil Uzi Vert adds a third Hot Rap Songs No. 1 to their account. They previously reigned through a supporting turn on Migos’ “Bad and Boujee,” which dominated for 10 weeks in January – April 2017, and via their own “Just Wanna Rock,” a three-week champ in February – March 2023.

Elsewhere, “What You Saying” continues its ascent across other Billboard charts. It pushes 5-3 on the Hot R&B/Hip-Hop Songs chart, leaps 21-14 on the all-genre Billboard Hot 100 and rockets 91-44 on the Billboard Global 200.

“What You Saying” extends Lil Uzi Vert’s recent output after two November releases, “Chanel Boy” and “Relevant.” The former reached No. 43 on Hot R&B/Hip-Hop Songs the next month, while the latter peaked two spots behind. The “Chanel Boy” and “What You Saying” music videos, in particular, feature heavy inspiration from the fashion world, with Marc Jacobs and Law Roach, among other luminaries, appearing in either clip. “We thought it would be cool to imagine an alternate universe where instead of me being a beloved rapper, I am a beloved fashion designer,” the artist told Vogue. “It makes sense for me to have a music video inspired by the world of fashion, as I have always been an avid fashion fan and collector from a very young age.”

The tracks have increased speculation of a full project from Lil Uzi Vert soon. Their last album, Eternal Atake 2, reached No. 2 on Top Rap Albums in November 2024, becoming the rapper’s sixth consecutive top 10 effort.

The new year only just began, but festival season will be here before you know it — and with BottleRock Napa Valley announcing that Sombr, the Backstreet Boys, Lorde and dozens more artists will be on its 2026 lineup, there’s certainly a lot to look forward to.

The California festival unveiled its full bill on Tuesday (Jan. 13), revealing that — in addition to the breakout “Back to Friends” hitmaker, reunited boy band and New Zealand pop star — Foo Fighters, Teddy Swims and LCD Soundsystem will also headline this year. Other major acts on the lineup include Lil Wayne, Zedd, Ludacris, Papa Roach, Mt. Joy, Slightly Stoopid, Rilo Kiley, AJR and Busta Rhymes.

The 2026 BottleRock festival will take place across three days from May 22 to 24, with its tagline promising that the music fans take part in will give them their “first taste of summer.” Throughout the weekend, attendees can enjoy sets from BigXThaPlug, Chaka Khan, Joan Jett and the Blackhearts, Kool & the Gang, Del Water Gap, Tom Morello, Natasha Bedingfiled and more before each night’s headliners.

Tickets for the annual event will go on sale at 10 a.m. PT on Wednesday (Jan. 14).

Year after year, BottleRock gives locals a diverse palette of music to experience. In 2025, Green Day, Justin Timberlake and Noah Kahan were the headliners, while the year prior, it was Pearl Jam, Ed Sheeran, Stevie Nicks and Maná.

In the month leading up to BottleRock, two other major Cali festivals — Coachella and Stagecoach — will take place as well. The first will see Justin Bieber, Sabrina Carpenter and Karol G headlining, while the country-music showcase has tapped Lainey Wilson, Cody Johnson and Post Malone to lead its bill a few weeks later.

See the full BottleRock 2026 lineup below.

Universal Music Group has appointed veteran journalist Hannah Poferl as chief data officer, effective immediately, marking a major hire for the world’s largest music company as it accelerates its data-driven strategy. Based in Santa Monica, Poferl will report to UMG chief operating officer Boyd Muir.

Poferl joins UMG after nearly 12 years at The New York Times, where she most recently served as the newspaper’s first-ever chief data officer, a role she assumed in 2021. During her tenure, she also held senior newsroom leadership positions including head of audience and assistant managing editor, playing a pivotal role in the Times’ digital transformation and subscription growth during a period of industry disruption.

At UMG, Poferl will lead global data and analytics initiatives across audience development, artist and fan engagement, talent discovery and the application of AI technologies to support the company’s “superfan” strategy. Her remit also includes unlocking long-term value from UMG’s extensive catalog and driving operational performance across its businesses.

A thrilled Muir praised Poferl’s “exceptional reputation and track record of strategically utilizing data, analytics and AI technology to grow, connect and engage audiences with creativity and culture,” saying it “mirrors our own vision for transforming the ways artists and labels can connect with fans. Her unique insight and deep understanding of both the creative and commercial aspects of the creative sector, dovetail perfectly with our own ambitions to accelerate the role data and technology play in our driving our superfan initiatives, direct to consumer platforms and UMG’s business globally.”

Poferl described the move as a natural extension of her career. “Storytelling has been central to my work, and music is one of the most powerful storytelling mediums,” she said, citing UMG’s artist-first approach and commitment to using technology in service of creativity.

At the Times, Poferl oversaw teams of more than 200 people and helped shape data practices that balanced analytics with editorial values. She developed systems that informed coverage decisions, drove readership growth and advanced machine learning capabilities to scale audience engagement. Since joining the Times in 2014, Poferl held roles including associate managing editor, director of newsroom strategy and deputy editor.