Joel Deleón — formerly known as Joel Pimentel (of CNCO) — has released his debut solo single “La Culpa,” an acoustic, guitar-led melancholic song that marks the beginning of a new era.

The release of his debut solo single was preceded by a last-name change in an homage to his grandfather, Luis Deleón, who taught the 22-year-old Mexican-American artist to sing. He made the big announcement via social media days before unveiling the name of his first single.

“Deleón is something that I always wanted to carry high throughout my career and now that I have the opportunity, I am happy to do so because Deleón is why music is in my blood and I am very proud to be able to do that [now],” he told Billboard in an Instagram Live interview.  

A departure from the more uptempo, rhythmic songs he used to sing with CNCO, “La Culpa” finds a more stripped-down Deleón who regretfully sings about breaking a girl’s heart.

“Since I left the band, I’ve been in the studio almost 24/7 trying to find different sounds and things that come naturally to me,” he said. “We’ve made many other things, different genres, very different sounds to what [my fans] have heard me do before, and it is something that makes me very emotional. I already want everyone to hear everything.”

“La Culpa” is the first single from his forthcoming debut album, which Deleón teases will see him go back to basics. “Over the years, I’ve had many ideas and I can finally express myself 100% with my vision. You will know a lot about the project soon but you are going to see elements that I started with in music alongside my grandfather. Everything will come from my heart,” he added.  

On May 9, CNCO announced Deleón was leaving the band to move on to a new chapter of his career. “It’s time for me to grow and explore new artistic avenues, it’s time to start building my own path and career. This is why I’ve decided to leave the band,” he wrote in a statement.

He added: “To Erick, Chris, Richard and Zabdiel, I truly wish you the best as you continue on with the CNCO legacy. We’ve lived through so much together that we’re family now. I can’t wait to share my new project with y’all. This is just a new beginning.”

Google Play is reducing the service fee it charges all subscription-based developers from 30% to 15% the moment they become available in the Android app store, while the service fee for streaming services will be reduced from 15% to 10%. Previously, most subscription-based developers were assessed a 30% fee in their first year on the platform, followed by a 15% fee thereafter.

Revealed Thursday (Oct. 21) in a company blog post by Google vp product management Sameer Samat, the fee decrease goes into effect Jan. 1, 2022. In making the announcement, Samat noted that Google has interfaced with subscription-based app developers in various industries “to understand the nuances of their businesses.” Though Google Play previously cut the fee to 15% after the first 12 months of a recurring subscription, he writes, “we’ve heard that customer churn makes it challenging for subscription businesses to benefit from that reduced rate. So, we’re simplifying things to ensure they can.”

Music streaming services like Spotify — which has been a vocal critic of the service fees charged by Apple’s App Store specifically — will now be “eligible” for a service fee as low as 10%, Samat writes, though he refrained from laying out eligibility requirements in the post. That benefit will extend to ebooks, which was folded into Google Play’s “Media Experience program” earlier this year alongside on-demand music streamers. Samat adds that the fee cut was being implemented “to better accommodate differences in these categories,” for which “content costs account for the majority of sales.”

“The new rates recognize industry economics of media content verticals and make Google Play work better for developers and the communities of artists, musicians and authors they represent,” Samat continued of the decision to cut rates for music streamers and ebook developers.

That decision is notable, though it wouldn’t affect Spotify as things stand now; currently, the streamer does not allow users to pay for subscriptions through Google Play or Apple’s App Store due to the service fees assessed by those platforms. (In September, Apple announced that beginning next year, it would allow select apps it had designated as “readers,” including Spotify and Netflix, to include in-app links to external sign-ups, something it does not currently allow.)

Spotify did not respond to a request for comment.

Though Samat’s post doesn’t mention any of the recent legal, regulatory and legislative broadsides lobbed against Google and other tech giants, it nonetheless follows a host of significant developments on that front. This past July, attorneys general from 36 U.S. states and one district filed an antitrust lawsuit against Google, claiming the company had formed an unlawful monopoly in the Android app market. Among other alleged practices, the suit accused the tech giant of blocking Android apps not listed in Google Play from advertising on Google’s platforms, as well as mandating that all apps on Google Play use Google’s in-house billing method — thereby forcing consumers to unknowingly pay higher amounts that included service fees. (After the lawsuit was filed, Google called the attorneys general’s accusations “meritless.”)

Apple has also been a target of lawsuits over its App Store practices. Just last month, in a case brought by Fortnite developer Epic Games, a federal judge ruled that Apple violated California laws barring unfair competition by preventing third-party app developers from directing customers to alternative payment methods as a means of skirting the App Store’s service fees, which are structured the same as Google’s: 30% the first year and 15% thereafter. The ruling amounted to a mixed bag, however, as the judge stopped short of finding that Apple ran a monopoly — a charge that formed the crux of Epic’s complaint.

In the U.S. Senate on Monday, Sens. Amy Klobuchar (D-MN) and Charles E. Grassley (R-IA) introduced the American Innovation and Choice Online Act – a companion bill to one passed in June by the House Judiciary Committee – which would prohibit conduct deemed to be “harmful to small businesses, entrepreneurs and consumers, but that do not have any pro-competitive benefit.” Though the House bill is currently awaiting a vote in the full chamber as its sponsors haven’t yet secured the support needed for passage, bipartisan support for reining in big tech continues to gather steam on Capitol Hill.

In a statement, Spotify head of global affairs and chief legal officer Horacio Gutierrez hailed the Senate bill, writing, “Gatekeeper platforms use their power to distort markets by manufacturing self-serving advantages at the expense of American consumers and competitors. They offer users fewer, less innovative choices and insulate themselves from competition, which leads to higher prices for consumers.” He added that Spotify looks “forward to Congress bringing an end to these discriminatory practices for the sake of consumer choice and the digital economy.”

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Chris Stapleton has postponed a handful of live dates, on doctor’s orders.

The country music star has been ordered to rest his voice, which means he’ll skip dates Thursday (Oct. 21) at the Riverbend in Cincinnati, and his sold-out shows Friday (Oct. 22) and Saturday (Oct. 23) at Nashville’s Bridgestone.

Stapleton had some quiet time of late, to allow his voice time to mend. Unfortunately,” he writes, “the progress I made is not enough.”

On medical advice, Stapleton will “continue my vocal rest through the weekend in order to fully heal. I am sorry that so many of you have been inconvenienced and I’m truly thankful for your patience and understanding.”

He continues, “Nothing is more personal to me than the experience of music. I’m eternally grateful for the privilege of sharing in that journey with all of you night after night. Thank you for your continued support and I hope to see you all very soon.”

The Nashville, TN shows have been rescheduled for Dec. 10 and 11, and a replacement date for Ohio’s Riverbend will be locked in for 2022 and announced “as soon as possible.”

The Lexington, Kentucky native is touring in support of his fourth full-length album Starting Over, which blasted to No. 1 on Billboard’s Top Country Albums chart in 2020, and No. 6 on the all-genre Billboard 200.

Away from the road, Stapleton has been busy in the studio with a string of collaborations, including a Christmas song “Glow” with Kelly Clarkson, “The War Inside” with Tom Morello, and Carlos Santana’s “Joy.”

Triller and veteran music executive Steve Rifkind’s Spring Sound label are partnering on a new artist discovery platform called Spring Singles. The partnership was announced Wednesday (Oct. 20) during a keynote conversation between Rifkind and rapper-producer David Banner at Triller’s inaugural monthly Assembly for Black Creators virtual conference.

Beginning Jan. 1, 2022, and every two weeks through the year, Spring Singles will release a new track from a different undiscovered artist on Triller — resulting in 26 new artists across various genres being introduced through all Triller platforms. In addition to the main Triller platform and all Triller social channels, the artists’ songs will gain exposure through Triller’s Rising Star and Soundcloud playlists, in-app advertising, exclusive artist spotlights, push notifications, Triller influencer support, and Triller House content activations, events and brand partnerships. Spring Singles will also encourage emerging artists to submit their work directly to Springsingles@spring-sound.com.

“We’re creating a new pathway to finding and launching the kind of raw talent that makes people stop and say, ‘Whoa, there’s a new star,’” said Rifkind in a statement. “Triller’s ability to amplify these new voices to the right audiences using their AI tools and sophisticated marketing is the way we hope to empower new voices so they can have a very real opportunity to potentially break through. We want to create a rhythm to our song releases. By scheduling them every two weeks, we will hopefully have created something that people pay attention to and look forward to. We have already found some amazing talent that we can’t wait to introduce.”

Added Mahi de Silva, CEO of TrillerNet, parent company of Triller, Verzuz, FITE, Triller Fight Club, TrillerVerz and Amplify.ai, “Steve Rifkind is synonymous with discovering incredible new talent and having a deep understanding of the cultural moment, two qualities directly aligned with the Triller mission. As a premier music discovery platform, we’re excited to launch Spring Singles and empower the next generation of artists in their journey to fully expressing themselves and finding their audience.”

Best known for establishing pioneering labels such as Loud Records and SRC Records, Rifkind has introduced several iconic artists over the course of his career, among them Wu-Tang Clan, Mobb Deep, Big Pun, Akon, Three 6 Mafia and Busta Rhymes. He founded Spring Sound in 2021 in homage to father Jules Rifkind’s legendary Spring Records, whose roster included James Brown and Millie Jackson.

Swizz Beatz and Migos’ Quavo were also among the keynoters at Triller’s first Assembly for Black Creators, speaking before a private audience of more than 250. Focused on bringing Black creators together with leading brands to foster more Black-owned content integrations and Black-owned media, subsequent virtual events are slated for Nov. 10 and Dec. 3 — culminating in 2022 with the Black Creator Conference. For more information visit AssemblyForBlackCreators.com.

Who says sports can’t be “Fancy”?

Iggy Azalea performed during the halftime show at Wednesday’s (Oct. 20) New York Knicks home opener against the Boston Celtics at Madison Square Garden, backed up by the Knicks City Dancers.

In addition to her Billboard Hot 100 No. 1 hit “Fancy” — which featured Charli XCX and topped the chart for seven straight weeks back in 2014 — Azalea also performed “Black Widow,” her No. 3 hit in 2014 that featured Rita Ora. She performed breakthrough 2013 hit “Work,” which was the lead single from her debut album The New Classic.

“I have never been so scared in my life but I had fun!” Azalea tweeted Wednesday alongside video of the halftime performance. She also retweeted several fan videos from inside MSG.

In August, the Australian rapper dropped what she called her final album project, the EDM-heavy The End of an Era.

Watch some of her halftime show below: