Rihanna made her return to the stage at a pre-wedding gig for Anant Ambani and Radhika Merchant in Jamnagar, India, on Friday (March 1).
The singer and Fenty mogul performed at a lavish party that was part of a multi-day celebration for the soon-to-be newlyweds, who will officially tie the knot July 12 in Mumbai. The nearly 1,200-person guest list included Rihanna as well as Bill Gates, Mark Zuckerberg, Sunder Picha, Ivanka Trump and Bollywood celebrity Shah Rukh Khan, the AP reports.
Ambani is the son of multi-billionaire Mukesh Ambani, the chairman and managing director of Reliance Industries, and Nita Ambani, founder of the Reliance Foundation. Merchant is the daughter of Viren Merchant, CEO of Encore Healthcare Pvt. Ltd., and entrepreneur Shaila Merchant.
“The show was the best,” Rihanna was seen saying on camera post-concert, while being approached by paparazzi. “I haven’t done a real show in eight years.”
The Ambani dynasty is well-known for extravagant wedding festivities. When Mukesh’s daughter Isha got married in 2018, Beyoncé performed at the ceremony, and when the business titan’s oldest son Akash tied the knot in 2019, Coldplay’s Chris Martin and the Chainsmokers were hired.
See clips of Rihanna in India below, including videos of her performing “Bitch Better Have My Money,” “Work,” “Umbrella,” “Stay,” “All of the Lights,” “We Found Love,” “Diamonds” and more.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-03 03:03:462024-03-03 03:03:46Rihanna Performs First Full Concert in Almost 8 Years at Private Wedding Party in India: ‘The Show Was the Best’
RAYE was the big winner at the 2024 Brit Awards, winning a record six awards – artist of the year, album of the year for My 21st Century Blues, song of the year for “Escapism” (featuring 070 Shake), R&B act, new artist and songwriter of the year. This breaks the old record of four awards in one night, held jointly by Harry Styles (2023), Adele (2016) and Blur (1995). Adele and Styles had won artist of the year the last two years. RAYE is not yet in their league as a global superstar, but after this strong show of support in her home country, she is on her way.
RAYE sobbed as she won the album of the year award, saying, “You just don’t understand what this means to me. … I’m ugly-crying on national television. All I ever wanted to be was an artist. And now I’m an artist with an album of the year.”
“Escapism,” which reached No. 1 on the Official U.K. Singles Chart and climbed as high as No. 22 on the Billboard Hot 100, is the first collaboration to win song of the year since “One Kiss” by Calvin Harris & Dua Lipa five years ago. (Harris and Lipa were both winners on this night, as well.)
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The Brits were held at The O2 arena in London on Saturday (March 2). Clara Amfo, Maya Jama and Roman Kemp co-hosted the ceremony.
The Brits report that “three-quarters of award wins [featured] women and non-binary people.” Female artists made a clean sweep of the three awards for international artists (that is, artists who hail from outside the U.K.).
Miley Cyrus’ “Flowers” won international song of the year, coming out on top in a 15-entry field. (Memo to the Brits: 15 is way too many nominees.) “Flowers” was named the top-selling global single of 2023 by IFPI earlier this week. It won the Grammy for record of the year on Feb. 4. This is the third consecutive year that this Brit Award has gone to a No. 1 hit on the Hot 100. The award had gone the last two years to Olivia Rodrigo’s “Good 4U” and Beyoncé’s “Break My Soul.”
SZA won international artist of the year, beating a very strong field which also included Cyrus, Rodrigo, Kylie Minogue and Taylor Swift. Swift had topped SZA to win the Grammy for album of the year.
Boygenius won international group of the year. They are the fifth all-female group to win in this category, following The Bangles (1987), TLC (2000), Destiny’s Child (2002) and HAIM (2021).
The Last Dinner Party won the rising star award. They are the first all-female group to win in the category, which was first presented in 2008.
The pop/R&B act category was split in two this year — pop act, which went to Dua Lipa, and British R&B act, which went to RAYE. Lipa had won in the combined pop/R&B category two years ago. This was her seventh career Brit Award.
Calvin Harris won dance act, beating Becky Hill, who had won in that category the last two years. In accepting the award, Harris praised Ellie Goulding, with whom he teamed on “Miracle,” a song of the year nominee.
Chase & Status are this year’s Producer of the Year winners. The electronic music duo, consisting of Saul Milton (Chase) and Will Kennard (Status), was also nominated for group of the year. They have produced not only their own releases, but the works of such other acts as Becky Hill, Rihanna, Rita Ora and Tinie Tempah. Chase & Status are the fourth multi-person production team to win Producer of the Year, following Stock Aitken Waterman (1988), Chris Potter, The Verve & Youth (1998) and Alan Moulder & Flood (2014).
Central Cee and J Hus, which had finished second to RAYE in the nominations count with four nods each, were shut out on the night.
Here’s the complete list of 2024 Brit Awards nominees, with winners marked.
Mastercard album of the year
Blur, The Ballad of Darren, Parlophone/Warner Music
J Hus, Beautiful and Brutal Yard, Black Butter/Sony Music
Little Simz, NO THANK YOU, Forever Living Originals/AWAL
WINNER: RAYE, My 21st Century Blues, Human Re Sources/The Orchard
Young Fathers, Heavy Heavy, Ninja Tune
Artist of the year
Arlo Parks, Transgressive
Central Cee, Columbia Records/Sony Music
Dave, Neighbourhood/Live Yours
Dua Lipa, Warner Records/Warner Music
Fred Again.., Atlantic/Warner Music
J Hus, Black Butter/Sony Music
Jessie Ware, EMI / Universal Music UK
Little Simz, Forever Living Originals/AWAL
Olivia Dean, EMI/Universal Music UK
WINNER: RAYE, Human Re Sources/The Orchard
Group of the year
Blur, Parlophone/Warner Music
Chase & Status, EMI/Universal Music UK
Headie One & K-Trap, One Records & Thousand8/The Orchard
WINNER: Jungle, Caiola/AWAL
Young Fathers, Ninja Tune
Best new artist
Mahalia, Asylum/Atlantic Records/Warner Music
Olivia Dean, EMI/Universal Music UK
PinkPantheress, Warner Records/Warner Music
WINNER: RAYE, Human Re Sources/The Orchard
Yussef Dayes, Brownswood Records/ADA/Warner Music
Song of the year
“Miracle,” Calvin Harris/Ellie Goulding, Sony Music/Universal Music UK
“Prada,” cassö/RAYE/D-Block Europe, Ministry Of Sound/Sony Music
“Let Go,” Central Cee, Columbia Records/Sony Music
“Sprinter,” Dave & Central Cee, Neighbourhood/Live Yours
“Dance the Night,” Dua Lipa, Atlantic Records/Warner Music
“Eyes Closed,” Ed Sheeran, Asylum/Atlantic Records/Warner Music
“Who Told You,” J Hus Ft Drake, Sony Music/Universal Music
“Strangers,” Kenya Grace, Warner Music
“Wish You the Best,” Lewis Capaldi, EMI/Universal Music Group
“Boy’s a Liar,” PinkPantheress, Warner Records/Warner Music
WINNER: “Escapism,” RAYE ft 070 Shake, Human Re Sources/The Orchard
“Dancing Is Healing,” Rudimental/Charlotte Plank/Vibe Chemistry, Columbia/Sony Music
“Firebabe,” Stormzy Ft Debbie, #Merky Records/0207 Records/Universal Music UK
“REACT,” Switch Disco & Ella Henderson, Relentless Records/Sony Music
“Messy in Heaven,” Venbee & Goddard, Room 2/Columbia Records/Sony Music
International artist of the year
Asake, YBNL Nation/Pri.me
Burna Boy, Spaceship/Bad Habit/Atlantic Records
Caroline Polachek, Perpetual Novice/The Orchard
CMAT, CMATBABY/AWAL
Kylie Minogue, BMG Records
Lana Del Rey, Polydor/Universal Music UK
Miley Cyrus, Columbia/Sony Music
Olivia Rodrigo, Polydor/Geffen/Universal Music Group
WINNER: SZA, RCA/Sony Music
Taylor Swift, EMI/Republic/Universal Music Group
International group of the year
Blink-182, Columbia/Sony Music
WINNER: Boygenius, Polydor/Interscope/Universal Music Group
Foo Fighters, Columbia/Sony Music
Gabriels, Parlophone/Warner Music
Paramore, Atlantic/Warner Music
International song of the year
“What Was I Made For?,” Billie Eilish, Darkroom/Interscope/Polydor/Universal Music Group
“Daylight,” David Kushner, Miserable Music/Virgin Music Group/Universal Music Group
“Paint the Town Red,” Doja Cat, RCA/Sony Music
“Giving Me,” Jazzy, CHAOS/Polydor/Universal Music UK
“People,” Libianca,5k Records/Sony Music
“Made You Look,” Meghan Trainor, Epic Records/Sony Music
WINNER: “Flowers,” Miley Cyrus, Columbia Records/Sony Music
“Stick Season,” Noah Kahan, Mercury Records/Republic Records/Island UK/Universal Music Group
“Miss You,” Oliver Tree & Robin Schulz, Atlantic Records / Warner Music
“vampire,” Olivia Rodrigo, Polydor/Geffen/Universal Music Group
“(It Goes Like) Nanana,” Peggy Gou, XL Recordings
“Calm Down,” Rema, Mavin Records/Jonzing World/Virgin Music Group/Universal Music Group
“Kill Bill,” SZA, RCA/Sony Music
“greedy,” Tate McRae, RCA/Sony Music
“Water,” Tyla, Epic Records/Sony Music
Alternative/rock act
Blur, Parlophone/Warner Music
WINNER: Bring Me The Horizon, RCA/Sony Music
The Rolling Stones, Polydor/Universal Music UK
Young Fathers, Ninja Tune
Yussef Dayes, Brownswood Records/ADA/Warner Music
Hip-hop/grime/rap act
WINNER: CASISDEAD, XL Recordings
Central Cee, Columbia Records/Sony Music
Dave, Neighbourhood/Live Yours
J Hus, Black Butter/Sony Music
Little Simz, Forever Living Originals/AWAL
Dance act
Barry Can’t Swim, Ninja Tune
Becky Hill, Polydor/Universal Music UK
WINNER: Calvin Harris, Columbia/Sony Music
Fred again.., Atlantic/Warner
Romy, Young Recordings
Pop act
Calvin Harris, Columbia/Sony Music
Charli XCX, Atlantic/Warner Music
WINNER: Dua Lipa, Warner Records/Warner Music
Olivia Dean, EMI / Universal Music UK
RAYE, Human Re Sources/The Orchard
R&B act
Cleo Sol, Forever Living Originals
Jorja Smith, FAMM/The Orchard
Mahalia, Atlantic/Warner Music
WINNER: RAYE, Human Re Sources/The Orchard
SAULT, Forever Living Originals
Brits rising star
Caity Baser, EMI / Universal Music UK
Sekou, Island / Universal Music UK
WINNER: The Last Dinner Party, Island / Universal Music UK
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-03 03:03:452024-03-03 03:03:45RAYE Wins a Record 6 Awards at 2024 Brit Awards: Full Winners List
“A message from the department” was livestreamed by Taylor Swift from Singapore. With no explanation, a mashup of “I Don’t Wanna Live Forever” and “Dress” — both originally released during the pop star’s Reputation era — could be viewed directly from Swift’s official Instagram account by fans around the world on Saturday (March 2).
The stream went live during the surprise song set, or as Swift called it, the “crazy acoustic section,” of the first of six Eras Tour dates in Singapore — the portion of the concert where he plays a couple surprise songs (or, lately, mashups). She will go on to perform at the Singapore National Stadium on March 3, 4, 7, 8 and 9.
As the stream happened, Swifties noticed that the official Taylor Swift webstore was blacked out. Visitors could not access the store, which was closed for a period of time, without a site admin’s password, leaving fans wondering whether something new was about about to launch for sale. At press time, her webstore is up and running, with no new products.
The “a message from the department” message that popped up along with the livestream is a reference to Swift’s upcoming album, The Tortured Poets Department, coming on April 19. The message was ended with a black heart.
Swift has already announced three variants of the album, each featuring a different bonus track: “The Manuscript,” “The Bolter” and “The Albatross.” She revealed “The Bolter” and “The Albatross” editions at previous tour dates in Melbourne and Sydney, Australia. Fans guessed another announcement might have been made at the first Singapore concert of the tour — maybe a fourth bonus song — but no announcement was made.
And given her choice of songs to perform and livestream (and the fact that only this mashup was streamed, not her full acoustic set), Swifties theorized that the Easter egg-loving musician might have been giving some Reputation-related signs from Singapore.
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“I Don’t Wanna Live Forever” is Swift’s duet with Zayn Malik that was first released in December 2016 and included on the Fifty Shades Darker soundtrack when it dropped in February 2017.
“Dress” is track No. 12 on Swift’s sixth studio album, Reputation, released in November 2017.
So far Swift has released the “Taylor’s Version” of all of the albums she’s expected to re-record except for Reputation and her debut, self-titled album. No release date has been announced for either re-recording yet.
Just before the “I Don’t Wanna Live Forever”/”Dress” mashup in Singapore, Swift performed a mashup of Speak Now opener “Mine” and Red track “Starlight” on guitar that was not livestreamed on her official account, but captured by others at the stadium. Watch both mashups in the clips below.
Swifties, what a beautiful day 1 of Taylor Swift | The Eras Tour! 🤩
You guys were dressed to the nines, and dancing your hearts out – you’re the best thing that’s ever been OURS. ❤️
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-03 03:03:442024-03-03 03:03:44Taylor Swift Livestreams ‘Reputation’-Era Surprise Song Mashup From Singapore
With radio programmers spread across the country, it’s not often that artists have a chance to interact with the programmers and personnel who have aided them in their respective journeys to earning their first country radio hits — at the same time, all in one room. But each year, they do get that chance when radio programmers — along with plenty of label personnel — gather in Nashville for the Country Radio Seminar.
On Friday (March 1), following three days of radio and streaming-focused panels and label luncheons, the conference concluded by highlighting five highly-promising new artists.
This year’s class featured Records Nashville’s George Birge, Riser House’s Dillon Carmichael, Sony Music Nashville/RCA’s Corey Kent, Sony Music Nashville/Columbia’s Megan Moroney and Valory Music’s Conner Smith.
The night’s performances were tightly focused, with artists largely running through their familiar breakthrough hits, while also offering glimpses into what lies ahead musically.
First up was Kent. In an introductory video that played on the main screens prior to his performance, Kent began by thanking country radio for “helping us to deliver the biggest axe blow we’ve ever had,” in making his single “Wild as Her” a top 5 Country Airplay hit. “There will be many more to come,” he promised. Taking the New Faces stage, Kent introduced his set with the brooding “Gold.”
“If you know anything about me, you know this. I believe tomorrow isn’t guaranteed and what you do today matters. What we do tonight is take a few risks … you either getting busy living or you’re getting busy dying.”
He then offered his most recent radio single, “Something’s Gonna Kill Me,” a churning, freewheeling song which made great use of his rock-woven, rugged voice. From there, he offered his breakthrough hit “Wild as Her.” He largely stayed close to center stage throughout his set. Not that he needed to roam the stage — his voice, full-bodied and shot through with rock influences, permeated the room.
“Thank y’all so much, country radio!” he told the packed ballroom of radio executives, before offering a preview of a new song, titled “This Heart,” which Kent noted will soon impact country radio.
Next up was Birge, who reached No. 2 on the Country Airplay heart earlier this year with “Mind on You.” Microphone in hand, he stalked the stage as he offered the hard-rock influenced “Hard on the Bottle.” He later gave the audience an early look at new song “Damn Right I Do,” and concluded with “Cowboy Songs.”
“I’ve dreamed about this day for a long, long time and damn it did not disappoint,” he said. “I couldn’t come here and not play the song that you changed my life with,” he added before taking up a guitar to perform “Mind on You.”
“Thank you for believing in me,” he told the audience. “I don’t take for granted for one second that I get to be up here on this stage and it’s because of you guys.”
Before Nashville native Smith took the stage, screens on both sides of the stage showed home videos of Smith as a young child, around five or six years old, performing covers of hits from Kenny Chesney and Montgomery Gentry, followed by footage of Smith earning a standing ovation during his Grand Ole Opry debut in 2022.
Smith, clad in a white shirt and black leather jacket, began his high-octane set with “Smoky Mountains,” the title track from his January-released full-length album.
He noted that he’s attended the New Faces of Country Music Show a few times. “I would always watch and just pray that I would get a chance to be on this stage,” he said, thanking the crowd. “It means so much more than you know.” He then rolled into another song from the album, “Heatin’ Up.”
He also offered up with the tender, fiddle-laced duet “Roulette on the Heart” (though his duet partner on the song, Hailey Whitters, wasn’t in attendance). Still, Smith’s solo rendition connected with the audience just fine, thanks to his warm, smoothing vocals.
Smith also thanked country radio for changing his life by making the revved-up “Creek Will Rise” a hit. “It’s like Luke Bryan says — rain is a good thing,” Smith said before launching into the careening, rock-fueled, slightly bluesy track. ”Long live country radio!” he said, exiting the stage.
Kentucky native Carmichael, who is currently out on tour opening shows for Cody Johnson, launched his set with “Raised Up Wrong.”
“What an opportunity this is. Thank you for giving us a chance,” he said, before launching into his breakthrough hit “Son of A.” “In order to even qualify to be voted for to be a new face, one of those qualifications is you have to have at least a top 25 at country radio, so I want to thank my team for continuing to push this song we are about to play … and for country radio all of you who kept playing it … it means so much.”
He concluded with another uptempo track, one perfect for getting crowds to lift up their cups and enjoy some levity, with his current top 40 Country Airplay hit, “Drinkin’ Problems.”
The evening included a special moment to remember the life and career of the late country star Toby Keith, who died last month at age 62 following a battle with stomach cancer.
“He lived life fully, right to the end,” CRS Board of Directors president Kurt Johnson said, noting that Keith had planned to perform during Country Radio Seminar this year. CRB/CRS executive director RJ Curtis noted that 30 years ago that night, Keith made his New Faces Show debut in 1994. Then screens on either side of the main stage showed clips from Keith’s CRS New Faces of Country Music Show debut, including a performance of “Should’ve Been a Cowboy” and a short interview clip of Keith from his New Faces debut.
The lone woman on this year’s New Faces bill, Moroney closed out the lineup that evening. She is also one of the most-celebrated newcomers, thanks to her breakthrough hit, “Tennessee Orange,” and her debut album, Lucky.
“Anybody feel lucky?” she asked as she took the stage, clad in one of her signature sparkly, brightly-colored dresses to perform the title track to her album Lucky, as images of horseshoes, four-leaf clovers and boots crisscrossed the screen behind her.
Moroney’s star power was undeniable from the first song. From there she sailed through southernism-tinged kiss-off “I’m Not Pretty” and new release “No Caller ID” (which debuted at No. 13 on the Hot Country Songs chart earlier this year), led by her warm-hued voice, which cracked in all the right places, letting the emotional nuances of each song seep through.
“I have a lot of new music coming out this year that I’m excited for you to hear,” she teased, later adding, “Thank you for your support of me and my songs. I love writing songs. I love to do this and I get to do this because of you,” she said. In a departure from earlier performers on the bill, Moroney’s set offered its share of ballads, including the introspective song from Lucky “Girl in the Mirror.” Moroney closed with a faithful live rendering of her hit “Tennessee Orange.”
Since its inception in 1970, the New Faces of Country Music Show has put some of country music’s brightest new talents in the spotlight, with the members of the Class of 2024 joining the list of past New Faces performers including Tim McGraw, George Strait, Taylor Swift, Faith Hill, Keith Urban, Luke Combs, Miranda Lambert and Jelly Roll.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-03 03:03:432024-03-03 03:03:43Megan Moroney Leads 2024 CRS New Faces of Country Music Show
Maria Becerra shone brightly as she kicked off the final night of the 63rd Viña del Mar Festival, delivering a performance filled with dance choreographies and hits that were enthusiastically sung along by the Quinta Vergara audience.
Dazzling in a white denim outfit, the Argentine star — who took the place of Peso Pluma after the Mexican artist canceled — opened her performance with the furious thump of “Perreo Furioso,” backed by a rock band consisting of a bassist, guitarist, drummer and keyboardist, and an Argentine trap beat. She then ignited the vibe with an invigorating cumbia, “El Amor de Mi Vida,” which she originally recorded with Los Ángeles Azules. For more than an hour, she ran through hits including “Corazón Vacío”, “Ojalá” and “Piscina.”
Later, she received sunflowers from fans as well as Silver and Gold Gaviotas, the event’s top award, which she dedicated to her parents. “Thank you so much, really. What an honor to receive this,” she added.
The atmosphere became more serious when the Argentine singer read an emotional letter she wrote in response to the recent fires that affected the Valparaíso region.
“I want to take a moment to remember that all of us here have taken the commitment to help Viña rise again, after the tremendous tragedy they had to face. I witnessed the burning hills that showed in the marks of the fire, that less than a month ago, there were houses there. I listened with great fear to the story of a mother pulling her little child out of the fire,” she read.
She continued, “I was moved by the story of the female doctors from the small health clinic who climbed the hill beyond what we saw … It’s very sad to see how the fire swept away years of work. Life projects, memories, and above all, the more than 100 people who lost their lives. That’s why, today, I want to ask for a big round of applause for health workers, police officers, volunteers and firefighters. And to all of Chile, I want to tell you that my heart is with you. Our hearts are with every person who today is defying fate.”
Becerra, 24, was honored as a “Visionary” at the inaugural Billboard 2023 Latin Women in Music gala.
Following the performance by La Nena de Argentina, rapper Trueno — featured on Billboard’s list of the 50 most essential Spanish-language rappers of all time — took the stage to close out the event. Armed with intoxicating bars, the wordsmith opened with “Hoop Hoop” and continued the night with “Trueno: Bzrp Freestyle Sessions, Vol. 6,” “Buenos Aires en Llamas” and “Freestyle” before closing with “Dance Crip.”
Later in the evening, he also received his Gold Gaviota and Silver Gaviota awards.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-03 03:03:412024-03-03 03:03:41Maria Becerra Illuminates Viña del Mar 2024 Finale, Pays Tribute to Fire Victims
Nas wants to bring a state-of-the-art casino to his home borough of Queens.
On Thursday (Feb. 29), the rap legend was on hand to unveil the $5 billion vision for Resorts World’s Aqueduct Park in Southeast Queens as the company hopes to win a license from New York State to break ground on the project. If granted, the casino is expected to be one of the largest in the world at 350,000 square feet.
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“This is an ambitious project that will give new opportunities to the hard-working families who call Queens home, attract top-tier talent, and build up the next generation of leaders,” said Nas, who has partnered with Resorts World to help promote the project, in a statement. “Clearly, with this project, the world is ours.”
The “Queens Get the Money” rapper reportedly added at the unveiling: “It’s an honor to be here, to be a part of this with Resorts World, realizing the future, seeing what this can be and what it will be.”
Since Resorts World gained access to the land and infrastructure in 2010, it has been preparing to one day build a multi-functional casino. There are plans for a 7,000-seat capacity entertainment venue to host events and concerts as well.
Park space, housing, hotels, restaurants and renovated transit options to JFK Airport and Manhattan are also part of the grand vision, which could create 5,000 union jobs.
Two-time NBA champion and current TNT basketball analyst Kenny “The Jet” Smith also endorsed the project; the plan includes building a sports academy with facilities named after the former Houston Rocket player.
“Resorts World came to me with a clear goal of fostering tomorrow’s athletes, student athletes and leaders both on and off the court,” said Smith in a statement. “Their investment in this Academy will help us teach the next generation the nuances of the game on and off the court, as well as the social, economic, and cultural impact of sports. I’m thrilled to partner with them to improve the borough that raised me and take it to the next level.”
Per The New York Times, Resorts World as well as Yonkers’ Empire City are expected to receive two out of the three licenses granted by New York State. That would not bode well for JAY-Z’s Times Square casino bid in Manhattan.
Watch an ad starring Nas for the Queens Resorts World Casino proposal below.
Nas featured in new commercial for Resorts World Casino In Rockaway Blvd In Queens NYC pic.twitter.com/3rg7ImRoTf
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-02 03:05:232024-03-02 03:05:23Nas Partners With Casino to Spur Economic Development in Queens
It’s been a nerve-wracking week for Universal Music Group employees — many did not know when they went to the office on Wednesday morning if they’d have a job on Friday. Layoffs hit department heads first and then started to impact the rank and file.
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This week, Universal Music Group followed suit, instituting layoffs in search of around $270 million in annual savings. The process started Wednesday and continued through Friday (March 1), impacting publicity departments, radio teams, A&R, marketing and more.
The cuts are part of a restructure of UMG’s label operations that chairman/CEO Lucian Grainge announced in an internal memo on Feb. 1. The shift reorganized the company loosely into an East Coast-West Coast orientation, with Republic Records CEO Monte Lipman overseeing Republic, Def Jam, Island and Mercury, and Interscope Geffen A&M chairman/CEO John Janick responsible for Interscope, Geffen, Capitol, Motown, Priority, Verve and Blue Note.
For UMG employees, the long runway leading into the layoffs — which were first hinted at back in October — combined with the fact that the company announced on Wednesday morning that it had earned more than $12 billion in revenue and $1.3 billion in net profit in 2023, has caused frustration, anger and anxiety, even for those who kept their jobs. That the layoffs came immediately following the annual earnings report, sources say, has led to greater frustration.
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Though the scenes employees describe are typical for any company undergoing large-scale layoffs — the slow drip of news about who’s been let go, and colleagues crying as they pack up their desks, for example — UMG’s layoffs have had an outsized impact on industry morale because of the label’s position as the dominant market leader, its strong financial results and the extended period for which employees have known the cuts were coming.
In an email to staff, Grange said that “by reimagining our global structure, we are creating a blueprint for a future where our labels are empowered with new capabilities and additional agility, ensuring they can sign and support artists with enhanced access to UMG’s highest-performing internal teams and resources.” He added, “This organizational redesign represents a new paradigm for artist support and fan engagement.”
UMG first signaled its cuts during an earnings call with financial analysts at the end of October. “[We] are currently conducting a careful review of our cost base, which we will complete over the coming months, and we will update you when appropriate about an anticipated cost savings program to commence in 2024,” said Boyd Muir, the company’s executive vp and CFO. Grainge added that the company planned to “cut overheads in order to grow elsewhere.”
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Universal Music Group Plans to Save $270M Per Year With ‘Organizational Redesign…
Earnings calls are, by nature, full of statistics and jargon like “adjusted EBITDA.” In January, the human cost of “cutting overhead” started to become clear: That would mean laying off hundreds of employees. In a statement at the time, UMG said “we are creating efficiencies in other areas of the business so we can remain nimble and responsive to the dynamic market, while realizing the benefits of our scale.”
The October earnings call did not make big headlines at the time. But many employees saw the January reports that layoffs were looming. “Every day I wake up thinking, is this the day I lose my job?” a UMG employee said in February.
“It is a particular kind of torture to leave people guessing for an extended period of time,” adds a music lawyer who has artist clients signed to UMG labels. “Your job is your No. 1 source of security. You add on top of already stressed individuals’ psyche the uncertainty of whether or not they’re gonna have a job tomorrow and draw that out for months.”
A UMG spokesperson declined to disclose any headcount for the cuts. In the meantime, sources say executives and department heads have received some generous exit packages on their way out the door.
For others outside the labels who work with them on behalf of clients, the layoffs — at UMG, at Warner, where dozens were recently let go at Atlantic Records, and amid rumors that other labels will be following suit — have also made life difficult. With UMG specifically, one manager with an artist signed to a UMG label says that the stress permeating the labels has made it hard to plan a rollout for his act. And a second music attorney notes that it’s been hard to do record deals within the UMG system knowing that the teams his artist speaks with may not be around by the time the deal is done.
Artist teams are also trying to understand how the cuts impact them. “The more I hear, the more stressed I am,” says another manager. There are “lots of firings across different positions. Some people are getting moved into jobs they aren’t in any way prepared for. And some people are now being asked to do what was previously three different jobs at once.”
There are more cuts to come in a “phase two” of the “strategic organizational redesign” next year, according to UMG’s investor presentation this week, which stated that “a combination of further ex-U.S. headcount reduction and other operational efficiencies” was set to begin in 2025. But not a single financial analyst asked questions about the extent of the layoffs on Wednesday. Instead, they asked about UMG’s battle with TikTok.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-02 03:05:232024-03-02 03:05:23Universal Music Layoffs Leave Staff and Artist Camps Lamenting the Drawn Out Process
Happy birthday, Justin Bieber! The “Love Yourself” superstar turned the big 3-0 on Friday (March 1), and his wife Hailey Bieber took to Instagram to share sweet moments from the duo’s relationship.
“30!!!!!!!????!!????!!!!,” the Rhode founder wrote on Instagram alongside various photos and videos of the duo kissing, smiling and cuddling up to each other. “That was fast. words could never truly describe the beauty of who you are. Happy Birthday to you… love of my life, for life.”
The couple officially wed in September 2018 at a New York City courthouse. A year later, they flew down to the Montage Palmetto Bluff hotel in South Carolina with their friends and family for a more traditional wedding ceremony and star-studded party.
Justin celebrated the duo’s fifth wedding anniversary in September 2023 with a sweet Instagram post in which he sang the model’s praises as one half of his heart. “To the most precious, my beloved. 5 years. You have captivated my heart. I know from the depths of my soul down to my bones that this journey with you will only exceed our wildest expectations,” wrote the singer next to a snap of the couple kissing, along with several more happy pics of them holding hands and cheesing for the camera.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-02 03:05:222024-03-02 03:05:22Hailey Bieber Celebrates ‘Love of My Life’ Justin Bieber on His 30th Birthday
South by Southwest is back to take over Austin, Texas, this year, with programming beginning March 8 and running through March 16.
This year, SXSW Music (March 11-16) features performances from The Black Keys, Omar Rodríguez-López and Cedric Bixler-Zavala aka DE FACTO, Swamp Dogg, Audrey Nuna, Kneecap, Flyana Boss and J Noa.
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Billboard Presents THE STAGE at SXSW to Return in 2024 with PARTYNEXTDOOR, Christian Nodal…
If you’re heading to the event and looking to get even more access to the SXSW Music Festival, the event is offering two special badges for purchase. With a standard music badge, for $945, attendees will receive “primary entry to our legendary Music Festival showcases, music programming, mentor sessions, and workshops at the SXSW Conference, Comedy Festival showcases, and online programming, plus secondary access to most Interactive and Film & TV programming,” per SXSW’s website. See here for the full list of details and purchase options. For Billboard readers, enter code reg-music-specialoffer_c439f88fe8 for a limited time to save more than 20% off the current price.
With an upgraded platinum badge, for $1,990, fans get primary access to all official SXSW Conference & Festivals events, plus up to five SXXpress Passes per day to enjoy your favorite programming. See here for the full list of details and purchase options. Enter code reg-plat-specialoffer_311a0ab5e3 for a limited time to save more than 25% off the current price.
Elsewhere at SXSW, Billboard is returning to the event with THE STAGE at SXSW, which will kick off with a night dedicated to R&B headlined by singer-songwriter and producer PARTYNEXTDOOR on March 14; on March 15, a night celebrating Latin music will feature TJ the DJ and singer-songwriter Christian Nodal; and on March 16, a dance-centric night presented by Carnival Cruise Line will kick off with DJ Sober before electronic giant ILLENIUM takes the stage. Billboard Presents THE STAGE at SXSW takes place at Moody Amphitheater at Waterloo Park in Austin. Tickets are available here.
Billboard’s parent company PMC is the largest shareholder of SXSW and its brands are official media partners of SXSW.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-02 03:05:212024-03-02 03:05:21Looking for More Music Access at SXSW? Check Out These Badges
Universal Music Group (UMG) shares rose 4.9% on Thursday (Feb. 29), the day after its fourth-quarter earnings revealed record revenue of 11.1 billion euros ($12 billion) in 2023 and strong subscription-related growth in the fourth quarter. The music giant’s stock finished the week up 2.3% to 27.87 euros ($30.25), bringing its year-to-date gain to 6.8%.
Investors also received details about the financial impacts of UMG’s company-wide layoffs. A reduction in global headcount is expected to save 75 million euros ($81.3 million) in 2024, 125 million euros ($135.5 million) in 2025 and 250 million euros ($271 million) annually by 2026. UMG has not specified the number of employees being laid off, but Billboard had identified nearly 50 across the company by Friday afternoon (Mar. 1). A second phase of layoffs and “other operational efficiencies” is scheduled to begin in 2025 and run through 2026, according to UMG’s latest investor presentation.
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In reducing its headcount and eliminating some positions, UMG is “redesigning our organization to enhance our capabilities in the areas most critical to our future growth and success,” CFO Boyd Muir said during the earnings call Wednesday (Feb. 28). “These changes will strengthen our leadership team, foster innovation and create significant efficiencies across our business.”
Also enjoying gains this week were some of the other largest companies in the 20-member Billboard Global Music Index. Spotify rose 3.0% to $263.75, Warner Music Group improved 3.2% to $35.48 and Live Nation increased 1.9% to $97.15. The index itself rose 1.9% to a record 1,715.81, with 11 stocks in positive territory.
Stocks had another strong week in the United States overall. On Friday, the Nasdaq composite surpassed its previous high from 2021 and finished the week up 1.7% to 16,274.94. Chipmaker Nvidia rose another 4.4% to $822.79 this week after gaining 8.5% the previous week. Meta shares were up 3.8% to $502.30 following its announcement on Thursday that it will “deprecate” (i.e. remove) its Facebook News tab in the United States and Australia. The S&P 500 gained 0.9% to 5,137.08 — its first close over 5,100.
In the United Kingdom, the FTSE 100 fell 0.3% to 7,682.50. South Korea’s KOSPI Composite index fell 0.9% to 2,642.36, mirroring the declines of K-pop companies HYBE (down 7.6%), SM Entertainment (down 2.5%), JYP Entertainment (down 3.4%) and YG Entertainment (down 3.9%). China’s Shangai Composite Index gained 0.7% to 3,027.02.
Sphere Entertainment Co. was music’s greatest gainer of the week after its share price rose 8.4% to $44.29. The price jumped 6.2% on Thursday after an SEC filing revealed chairman/CEO James Dolan acquired an additional 59,000 shares, ranging from $40.48 to $41.46 per share. Less impactful to the share price was TMZ‘s news that the Eagles are in talks for a fall residency at the $2.3 billion Sphere in Las Vegas. After U2’s residency ends this weekend, Sphere will host Phish for four dates in April and Dead & Company for 24 dates spanning from May 16 to July 13. Sphere shares have gained 30.3% year to date.
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French music streamer Deezer was the next-best performer of the week after gaining 5.1% to 2.25 euros ($2.44). The company reported fourth-quarter earnings on Thursday that showed improvements in subscriber court and average revenue per user. Revenue of 130.7 million euros ($141 million) was up 12.1% from the prior-year period. The same day, Deezer also announced the departure of CEO Jeronimo Folgueira. “Deezer is back on a growth trajectory and can now build from a solid foundation,” said chairwoman Iris Knobloch.
Believe shares rose 4.2% to 15.50 euros ($16.82) after the French music company announced that it received interest from a third party; a consortium consisting of founder Denis Ladegaillerie and two major shareholders launched a bid in February to take the company private at 15.00 euros per share. On Friday, Believe revealed it received “a confidential exploratory non-binding approach” from another party that valued the company at “at least” 17.00 euros ($18.45) per share. Believe was careful to note the third party’s approach did not constitute an obligation to make an offer. Still, the appearance of another possible bidder was enough to push Believe’s share price above the consortium’s earlier 15.00 euros-per-share bid.
Shares of Chinese music streamer Cloud Music dropped 0.5% to 90.45 HKD ($11.55). The company announced Thursday that music subscribers grew 8.7% to 205.9 million in the fourth quarter, with subscription growth helping revenue from online music services increase 17.6% to 4.4 billion RMB ($611 million) — although total revenue fell 12.5% to 7.78 billion RMB ($1.09 billion). Gross profit improved 63% to 2.1 billion RMB ($292 million) and net profit improved to 818.5 million RMB ($114 million) from a net loss of 114.6 million RMB ($16 million) in 2022.
iHeartMedia shares fell 2.6% to $2.26 after a seesaw week for the country’s leading radio broadcaster. The stock rose 22.0% to $2.77 on Thursday after the company’s fourth-quarter earnings report suggested the fog might be lifting from an advertising slowdown that has hurt broadcast radio revenues. After fourth-quarter revenue fell about 5%, iHeartMedia’s first-quarter revenue is expected to be down 2% to flat. Podcasts were a bright spot, growing 16.6% in the fourth quarter and 13.8% for the full year. Nearly all of Thursday’s gain was erased on Friday, however, when iHeartMedia shares fell 18.4%.
Cumulus Media suffered the largest loss amongst music stocks after falling 20.4% to $3.74. On Tuesday (Feb. 27), the radio broadcaster said its 2023 revenues fell 11.4% to $844.5 million and announced a debt exchange offer that would allow lenders to swap 6.750% notes due 2026 for 8.750% notes due 2029. The company is also offering to exchange term loans under a 2019 credit facility for new term loans.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-03-02 03:05:182024-03-02 03:05:18UMG Stock Rises on Record Earnings & Layoffs, Sphere Makes Big Gains Following CEO Share Trades