MAMAMOO introduced their first official sub-unit, MAMAMOO+, consisting of members Solar and Moonbyul, last August with a bouncy, modern R&B track “With You.” Seven months later, the duo unleashed their first EP with the release of Act 1, Scene 1 featuring exciting twists on what we typically expect from the popular K-pop girl group.

With a name seemingly drawing inspiration from OTT streaming services like Disney+, Discovery+, and Paramount+, MAMAMOO+ tap into genres their mother group has worked with but brings exciting, experimental updates. New single “GGBB” (standing for “Good Girl Bad Boy”) showcases the doo-wop and pop inspirations that the group initially embraced at the start of their career via 2014 singles like “Piano Man” and “Mr. Ambiguous” but switches up production in the bridge for a glitchy, fierce and rhythmic breakdown section. Released last week ahead of the full EP, “Chico Malo” mixes traditional Korean instruments like the gayageum and daegeum with trap beats for an anthem displaying the confidence that has become a hallmark of MAMAMOO’s latest releases.

Both of MAMAMOO+’s music videos are fresh visual treats as well. For “GGBB,” Solar and Moonbyul lead a troupe of dancers through different scenes, costumes, and scenarios in a Broadway-like performance. The video ends with the cast taking a bow and the curtain closing, leaving viewers wanting more before the two pop back to wave and say bye to viewers. Meanwhile, in “Chico Malo,” Solar and Moonbyul are seen alongside singer Kim Junsu, a singer famous for Korea’s musical storytelling style of pansori, for an “Aniri” version of their video to spotlight the form of Korean traditional singing. The visual features intricate fan choreography, gayageum and daegeum instrumentalists, plus modernized versions of classic Korean outfits. As made clear from the videos, not only is MAMAMOO+ experimenting and expanding with their music but with their visual storytelling too.

Act 1, Scene 1 is the latest release from the MAMAMOO members ahead of their MY CON U.S. Tour. The group recently unveiled the massive arena venues for the nine dates through May and June.

BMI enjoyed a double win Tuesday (March 28) in a federal rate court decision that will increase the royalties the performance rights organizations’ songwriters earn at live events.

The federally adjudicated decision in BMI’s rate case against Live Nation, AEG and the North American Concert Promoters Association (NACPA) awarded a 138% increase in rate to 0.5% of the event’s revenue. It also expands that revenue base to include a cut of concert hall VIP packages and box suites, tickets sold directly to the secondary market and servicing fees received by the promoters.

Previously, the revenue definition only reflected earnings directly from the face value of primary market ticket sales.

The rate and expanded revenue base applies to the period of mid-2018 through Dec. 31, 2022.

On the flipside, Southern District of New York Judge Louis Stanton, who handed down the rate court decision, rejected BMI’s attempt to ditch the historical 10% discount fee that the trade group and its promoters get for helping to administer the license on behalf of BMI. As well, BMI’s effort to expand the revenue base to also include sponsorship and advertising revenue was also rejected.

“This is a massive victory for BMI and the songwriters, composers and publishers we represent,” BMI president Mike O’Neill said in a statement. “It will have a significant and long-term positive impact on the royalties they receive for the live concert category.  We are gratified the Court agreed with BMI’s position that the music created by songwriters and composers is the backbone of the live concert industry and should be valued accordingly. Today’s decision also underscores BMI’s continued mission to fight on behalf of our affiliates, no matter how long it takes, to ensure they receive fair value for their creative work.”

“We advocated on behalf of artists to keep their costs down, and managed to hold the increase to less than 1/3 of BMI’s proposed increase,” said a Live Nation spokesperson in a statement. “This will cost the performers we work with approximately $15 million a year spread out over thousands of artists, and cost increases for Live Nation directly are not material.”

Prior to this decision, BMI and the live concert industry have been operating under a license negotiated in 1998 that was renewed twice through June 30, 2013. That agreement called for promoters to pay a performance licensing rate of 0.3% of revenue for concert venues with under 10,000 seats, and 0.15% of revenue for venues with over 10,000 seats. That rate, and the revenue definition that only covered primary market ticket sales, also served as the interim rate until this decision came down today.

“NACPA appreciates that the Court rejected BMI’s fee proposal for the period commencing July 1, 2018 as unreasonable,” reads a comment from the association, emailed to Billboard. “The fees set for that period are well below BMI’s proposal. NACPA is reviewing the opinion and has no further comment at this time.”

AEG did not respond to immediate requests for comment.