BMG announced on Tuesday (Jan. 13) it will move its global headquarters to the top floor of Berlin’s Lumina building — formerly Galeries Lafayette — in early 2027, following a lease agreement with real estate giant Tishman Speyer. The relocation keeps the music company in the heart of the city and only two blocks from its current offices at Charlottenstraße 59.

Located at Friedrichstrasse 76-78, Lumina is undergoing a major renovation that preserves Jean Nouvel’s original architectural character while introducing a modern, sustainable design. The building’s distinctive glass façade and glass cones will feature open workspaces and ample natural light. Once complete, Lumina will offer amenities including a rooftop garden with panoramic city views, a large bicycle garage with changing facilities, and dedicated event spaces.

Construction is expected to wrap up in the first quarter of 2027, just ahead of BMG’s relocation — a move that aligns with a major leadership transition. On Jan. 1, 2027, BMG CEO Thomas Coesfeld will assume the role of chairman and CEO of parent company Bertelsmann, succeeding Thomas Rabe. Coesfeld, who has led BMG since 2023 and joined Bertelsmann’s executive board in 2024, will oversee both Bertelsmann and BMG in a dual capacity.

“This iconic Berlin building provides a prestigious, next-generation workspace that truly reflects our ways of working as a global music company,” said Coesfeld. “Lumina will foster an environment where our employees can thrive, boosting creativity and collaboration.”

Florian Reiff, senior managing director at Tishman Speyer, added: “We warmly welcome BMG to Lumina. This project exemplifies our commitment to creating dynamic ecosystems … with modern, sustainable, and well-curated workspaces.”

More than 130 figures from across the European live events industry have signed an open letter urging EU Justice Commissioner Michael McGrath to take action against unauthorized ticket resale.

The coalition is urging the Commissioner to revisit and expand the scope of the Digital Fairness Act – known as the DFA, a European Commission legislative proposal aiming to update consumer protection – to directly tackle industrial-scale ticket scalping, which they say continues to harm fans and undermine the live events ecosystem across Europe. The letter can be read in full here.

The signatories span artists, managers, agents, festivals, venues and industry bodies. They include managers representing Ed Sheeran, Nick Cave, Oasis and Radiohead, alongside prominent German bands such as Rammstein, AnnenMayKantereit and Die Toten Hosen. Agents for artists including Florence + The Machine, Fontaines D.C., Gorillaz, Harry Styles, Katy Perry, Lorde, Olivia Dean and Sam Smith and more have also added their support.

Major European cultural institutions and festivals are also backing the call, among them the Montreux Jazz Festival and Sziget Festival, as well as venues and ensembles ranging from the Czech National Theatre and Estonian Drama Theatre to the Malta Philharmonic Orchestra.

The letter has received further support from European festival association YOUROPE, the Sports Rights Owners Coalition and the Association of Independent Music Ireland.

According to industry group Face-Value European Alliance for Ticketing (FEAT), across Europe, unauthorized resale platforms are estimated to generate around €2.5 billion ($2.9 billion) annually. These sites often sell tickets at vastly inflated prices, with buyers frequently discovering tickets are fake, duplicated, sold before official release, or invalid under event terms and conditions. 

In a statement, FEAT managing director Sam Shemtob said that the breadth of support for the letter reflects the scale of the problem. “World-famous German metal pioneers Rammstein have joined forces with Hungary’s Mesebolt Puppet Theatre, national sports bodies and representatives of some of the biggest stars in music to tell the EU that action is needed on unauthorized ticket resale,” he said. 

“Enforcement isn’t working, and the Digital Fairness Act offers a one-off chance to specifically address the problem. The EU risks falling behind if it misses this opportunity.”

YOUROPE chairman Christof Huber echoed those concerns, adding: “For years, platform operators with unfair and harmful business models have been taking advantage of our fans and customers. Yet we do not have the tools at our disposal to confront [ticket resale site] Viagogo and co. in the way we would like to. 

“As a representative of festivals across the continent, YOUROPE calls on the European Commission to act in the interest of those who guarantee millions in honest tax revenue and work for thousands of creative professionals and artists.”

The Digital Fairness Act, which is still being consulted on, is separate from the Digital Services Act. The Digital Services Act entered into force in 2022, taking full effect across all EU member states two years later, and sets out obligations for online platforms to protect users from violations of their rights.

A$AP Rocky has denied that his upcoming “Helicopter$” music video was created using artificial intelligence.

On Monday (Jan. 12), the rapper released the visual for “Helicopter$,” his first music video of 2026. Shortly after the video dropped, online chatter began questioning whether the trippy, animated visuals were AI-generated — prompting Rocky to respond directly on social media.

“THIS VIDEO IS NOT Ai GENERATED! THIS VIDEO IS NOT Ai GENERATED!” Rocky wrote several times on X after the release, adding, “JUST GENERATIONAL.”

The Dan Streit-directed video leans into the surreal, high-concept aesthetic Rocky has become known for throughout his career, and features the Harlem native leading his crew around the city in a stolen helicopter, while a cop chase ensues.

The track is expected to appear on his forthcoming fourth studio album, Don’t Be Dumb, which drops January 16. An earlier version of the song featured Playboi Carti, though the official release centers on Rocky alone.

“Helicopter$” arrives just one week after Rocky shared the video for “Punk Rocky,” which starred Winona Ryder and included cameo appearances from Danny Elfman, Thundercat and A$AP Nast. Ryder’s involvement also tied into Rocky’s ongoing creative relationship with filmmaker Tim Burton, who previously collaborated with the rapper on artwork for Don’t Be Dumb.

Rocky has spoken openly about Burton’s involvement in the project. In a previous interview with Billboard, the rapper recalled playing music from the album for the director and described Burton’s reaction.

“He was rocking his head and he’s like, ‘Wow! I didn’t know you made that kind of music!’” Rocky said at the time, adding that Burton was “f—ing with it heavy.”

While Rocky has yet to announce a release date for Don’t Be Dumb, the rollout has steadily picked up momentum and is expected to arrive in just days. The rapper has largely kept details about the album under wraps, though its creative direction has been framed as a continuation of his long-standing interest in fashion, film and boundary-pushing visuals.

The Mob frontman’s “Punk Rocky” was also used by ESPN to soundtrack a semifinals spot, while Indiana University will battle the University of Miami next Monday (Jan. 19) in the championship, which will be a de facto home game for the Hurricanes with it being played at Hardrock Stadium in Miami Gardens.

As we eagerly await Beyoncé’s next move – Act III perhaps following Act I’s Renaissance and Act II’s Cowboy Carter? – we’re looking back at the artists who’ve appeared on her full-length studio albums. With eight to her name, Beyoncé has officially featured more than 30 different collaborators. Sometimes she keeps it in the family – see her multiple collabs with husband Jay-Z and her tracks featuring daughters Blue Ivy and Rumi Carter – other times, she highlights upcoming artists like Shaboozey, who joined her on her latest album and then found huge solo success himself.

For the collaborations listed below, she’s earned 14 Grammy nods, winning five of them: best R&B song and best rap/sung collaboration for “Crazy in Love” with Jay-Z from her debut solo album Dangerously in Love; best R&B performance and best R&B song for “Drunk in Love,” again with her husband off of her self-titled LP; and best country duo/group performance with Miley Cyrus for “II Most Wanted” from Cowboy Carter.

It’s important to note: We’re solely counting songs on her solo studio albums; remixes like “America Has a Problem” with Kendrick Lamar or cuts from her soundtrack to The Lion King don’t make the list. Neither do her joints on other albums that are not her own (sorry to the exceptional “Savage Remix” with Megan Thee Stallion).

From fellow A-Listers like Post Malone, Cyrus and The Weeknd to icons like Linda Martell, Willie Nelson and Dolly Parton, scroll through all the artists who have collaborated with Beyoncé on her solo studio albums below.