As the concert business soars to new heights, five of its most powerful women have been on a tear. As leading agents across five top booking agencies, Jenna Adler, Lucy Dickins, Samantha Kirby Yoh, Cara Lewis and Marsha Vlasic serve as tour architects and chief dealmakers to the stars, shaping the live-music landscape while helping their artist clients build their brands and broaden their businesses beyond music to sustain their careers.

With her client Adele, Dickins helped create a 75,000-capacity Munich venue purpose-built for the superstar’s 10 August 2024 shows (and aptly named Adele Arena). “I don’t think anyone else has ever done that,” Dickins jokes over Zoom. Lewis famously got a shoutout in 1987’s “Paid in Full,” on which Eric B. and Rakim explain, “Cara Lewis is our agent … and together we get paid in full.” The hip-hop touring powerhouse’s wins go back decades — and include moments like Eminem’s first-ever show outside Detroit in 1999.

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When we speak, Adler has just returned home from a trip to Dubai with her client Jennifer Lopez and expounds on the new heights that Deftones — “the first band I ever signed” — are currently achieving. Vlasic casually mentions that “Neil” — as in longtime client Neil Young — recently called to discuss his upcoming coastal tour. And Kirby Yoh is keen to chat about LCD Soundsystem’s recent Los Angeles and New York residencies, which encompassed 20 shows and which she booked for the band that she has helped guide through arenas, festival headlining slots and beyond over the years.

Their rosters are deep, their wins are many, and their reputations as leaders not just in the “female agent space” but the world of agents, period, are renowned. While each works for a different company — Kirby Yoh is a UTA partner and its co-head of global music, Dickins is WME’s global head of contemporary music and touring, Adler is a music touring agent at CAA, Lewis is founder and CEO of Cara Lewis Group, and Vlasic is the co-chair of Independent Artist Group’s music division — there’s a clear kinship among them, with the five women throwing out adjectives like “legendary,” “chic,” “magnificent” and “respected” when referring to one another.

“I hate losing,” Adler says. “But at the same time, I’d rather lose to one of them than to any of my male counterparts.”

Here, the five discuss their long careers, juggling their professions with motherhood and how agencies are changing for artists and female executives alike.

Issue 5, Feature, Women in Music, Executive of the Year, Jenna Adler
Jenna Adler, whose clients include Jennifer Lopez, Doja Cat, Charli xcx, Shaboozey and Deftones.

In terms of working with well-established touring acts, how do you guide an artist through a long career? How do you manage demand as an artist evolves?

Samantha Kirby Yoh: The No. 1 thing is partnering with an artist. You’ve really got to listen to what their vision is, what their priorities and concerns are. Those change over the years. Cyndi Lauper had a lifelong dream of playing an arena tour. She’d never done arenas and also wanted to do a spectacular presentation in regard to her life’s work. It’s not guiding so much as listening and then putting it together and being in true partnership with the manager and artist.

Jenna Adler: You can’t just be a transactional agent. It’s never going to last that way. You have to be really passionate because at the end of the day, we’re selling.

Cara Lewis: Once an artist’s fan base has solidified, doors open. It is about coming up with different opportunities that align with that artist to further enhance the brand and continue adding to their longevity. That can be as simple as playing larger venues, adding a sponsor or doing a brand partnership that increases awareness and grows the fan base … The ultimate goal is longevity and the ability to reinvent and hold fans’ attention throughout the evolution of a career.

Marsha Vlasic: To be honest with you, it’s not mathematics and it’s not chemistry. It’s pretty much instinct. I’m very confident in telling [artists] what I think they should do. I’m not afraid of them. A lot of people tiptoe around artists. Even certain managers are afraid to talk to their own artists. But once you go through a certain number of years and earn a certain amount of respect, then artists reach out to you and trust you.

Lucy Dickins: It’s about building a strong, authentic relationship. I need to understand an artist’s vision and figure out how to tell that story. From when we’re starting to work together to when they become huge clients, authenticity is, for me, the most important thing because I think people can see through [anything inauthentic].

Issue 5, Feature, Women in Music, Executive of the Year, Lucy Dickins
Lucy Dickins, whose clients include Adele, Billie Eilish, Olivia Rodrigo, James Blake and Lola Young.

What’s your philosophy on artist development?

Dickins: You’ve got to build a solid foundation that allows them to grow, experiment and evolve, while they’re also grounded and true to what they are. It’s not one size fits all. My thing is always just focusing on empowering them with the tools, knowledge and support they need to make informed decisions and trust their instincts. I’m a gut person, so for me, it’s like, “Go with what you want and just be authentic.”

Vlasic: I worry about taking that leap of faith too quick, too big, and then you’re f–ked. Artist development to me is turning people away, selling out, having a great show … Again, a lot of it is instinct.

Lewis: Throughout my career, I have always been at the forefront of artist development, championing female artists. In the early stages of an artist’s career, you have to know how to capture the urgency, which is all about strategically planning based on artist analytics, packaging and, of course, ticket pricing.

Kirby Yoh: My philosophy is to listen and tell the story of who they are. If there is a deep love in regard to beats, it’s about where we can get them DJ’ing in the warehouse and doing a remix. Every step and play have to be intentional and authentically build on the lore of who they are. And don’t miss steps. You have to do the steps to build your community with you so they feel they’re on the journey with you all the way.

Are festivals still effective in breaking new artists?

Adler: For me, it’s about the long game and not taking festival money so fast, not even looking at festivals until we have a bit of control over where we want to play. I always say we should never play a festival before four o’clock because before four, you’re playing for the vanity of it. Instead, let’s go out and do the hard work and create our own fan base so we can point to a scoreboard and say, “I sold this and that out. This isn’t a favor.” I don’t care about doing all these festivals. There are always exceptions, but my go-to is not worrying about being on a poster in a [small font size] just to say we’re there. Let’s go and sell out a 300-seat club.

Vlasic: I don’t know what else we have to break a new artist. Having an artist’s name on a festival poster is very important. All promoters look at who’s on there, and at least the emerging artists can play to a bigger audience than they would if they went on the club scene and did 300 a night.

Kirby Yoh: I love festivals. It depends on what festival it is. The smaller festivals, like the 20,000-capacity, are doing great. If you look at [San Francisco dance festival] Portola and [festival creator] Danny [Bell’s] exceptional skill set as a curator, it doesn’t even break artists but brings people who only heard of X, Y or Z DJ and then they suddenly hear the artists that inspired that DJ. It takes them on a kind of learning [journey]. [Portola] has done that exceptionally.

Dickins: I think it’s arguable to say if a festival breaks an artist, whereas before it used to be really important. Now a lot of artists on the way up ask if it’s more important to do their own show and build their own brand. If you’re in the opening slot on a stage or up against a load of clashes, what are you really getting out of that? I don’t know. As opposed to doing your own show with your core fan base or attracting people coming to see you build your brand.

But if you’re a bigger artist, they’re still huge milestones because they bring massive exposure and the chance to reach global audiences. And there are smaller festivals, or genre-specific festivals, that are becoming more prominent. Doechii played Camp Flog Gnaw last year; that was a huge moment. The big ones are good for the bigger ones, and the more bespoke, genre-specific ones are becoming more prominent for the smaller artists.

Issue 5, Feature, Women in Music, Executive of the Year, Samantha Kirby Yoh
Samantha Kirby Yoh, whose clients include LCD Soundsystem, Björk, Rosalía, FKA twigs and St. Vincent.

How are you seeing artists handle ticket pricing? In regard to the all-in approach where customers only see the final cost, is it important for fans to know the face value that artists are charging before ticketing fees?

Vlasic: None of my artists want fans to be pissed off because they think they’re charging too much. The thing is, somebody’s going to be miserable about something all the time. That’s my feeling on ticket pricing. With older artists, where it may be their last tours, they don’t want to go out just for the fun of being on the road. The road is no longer something [those artists] are dying to do, but this is their means of income. They don’t want to piss people off, but they want to maximize it.

Lewis: It all depends on artist, market, viability and urgency. Keep prices low, within reason and without compromising [an artist’s] ability to tour and offer an innovative production. Be cognizant of ticketing fees. Know what the competitive acts are charging and make an analysis of the sales and how the scaling is related to the result. Understand that each market has different needs due to the economy and different urgency.

Dickins: International markets tend to be much more cautious [than in the United States]. But ticket fees are a huge thing. At the International Live Music Conference in London, everyone was telling me that there are major concerns around ticket fees and the lack of transparency because fans feel misled when those additional fees are tacked on at checkout.

Kirby Yoh: I think most artists want the experience to be as easy as possible. When you go to buy a ticket for your favorite artist’s show and you’ve got $100 in your pocket, you want the total checkout cost to be $100.

Adler: I am so sensitive to ticket pricing because I look around like, “How can all these people afford all these shows?” Yet every show is selling out, even though the average ticket price is north of $100. I always try to go on the lower side, almost to a fault. I get a lot of pushback because they say I’m leaving money for scalpers to come in. I don’t want that. It’s such a delicate balance.

Issue 5, Feature, Women in Music, Executive of the Year, Cara Lewis
Cara Lewis, whose clients include Eminem, Travis Scott, Erykah Badu, Khalid and Don Toliver.

You’re all so well established. How has your job changed over the years?

Adler: The biggest difference I see is that now the artist wants a relationship with their whole team. When I started, none of the agents had direct relationships with their artists. Agents always had to go through a manager. Now artists want to be able to pick up the phone and talk to their agent.

Dickins: When I was first booking tours, there was a load of in-market stuff you never paid much attention to that now you do because the look goes everywhere. Your first look is really important because that can play into stuff later on in a career. It’s way more involved, much more detail-oriented and much more strategic.

Lewis: Social media has changed our lives. It is the key to it all and has changed the way we market and sell everything. Professional networking platforms have given us resources to connect with anyone at any time about anything.

Vlasic: I think the pandemic changed things more than how long I’ve been in the business. Since the pandemic, the whole structure of the business is different in terms of the back-office stuff. I have a beautiful office. I rarely go there. I don’t have a schedule. Maybe I’ve always beat my own drum in terms of being at a company, but the company structure and routine have changed drastically.

Most of you have children. What is it like doing your job as a mother?

Vlasic: I don’t know how I did it. I seriously don’t. I didn’t have family that I could call at any given moment. My husband had his own thing going. I went home almost every night, made sure they had dinner and the homework was done, and then I went out. I don’t know how the girls do it now, but the difference is, if you’re an agent at most companies, you don’t have to be in the office for a certain amount of hours like I did. I remember one time one of my sons was really sick, and I was staying home to get the test results from the doctor … My boss at the time called me and said, “I hope you realize you should be working regular hours,” knowing my son was sick. That wouldn’t happen now.

Adler: I have 23- and 25-year-old sons, and CAA allowed me to [raise them] with such seamless patience. They were incredibly supportive even before it was a thing. I nursed every day, my kids came in, but that was because [CAA managing director] Rob Light had five kids, and he was a great dad. He understood. All the guys here had kids and understood it was family first. I was really lucky in that way.

Dickins: As a female agent, the sacrifices I have to make with a young family are huge. It’s something I battle on a daily basis. I got back from London two days ago. I go to Australia on Sunday, I come back for one day, then I go to London for two days. When I look at men in my positions, they don’t have the guilt that I have … My husband deserves a f–king award because he has to hold the fort all the time. When my 9-year-old is crying because she doesn’t want me to go away and I have to go because I have to spend time with a client, it’s tough. I think that’s why, in the touring aspect, it’s especially hard for women.

Issue 5, Feature, Women in Music, Executive of the Year, Marsha Vlasic
Marsha Vlasic, whose clients include Neil Young, The Strokes, Cage the Elephant, Norah Jones and Elvis Costello.

In recent years, it feels like the glass ceiling has been broken in agenting, and your careers are a testament to that. Does that feel true? How could this world be more supportive of women?

Vlasic: When I was starting out, I didn’t know I was any different. I didn’t know people viewed me as “You’re one of the only women.” I just worked hard and was determined. There are times I’ll come off a panel and a young girl will come up and say, “It’s so hard for us as women.” I’m thinking, “What the f–k are you talking about?” There are more women agents, more women managers, more women musicians. Don’t use that as an excuse.

Kirby Yoh: I think it has become more supportive to women, but there’s still a lot more to do. There need to be more opportunities, full stop. But we’re getting there. More people are hiring women. More people are empowering them with tools and skills, and more of us are pulling our sisters with us in a good way, like, “Come to the studio with me. Come to the show.”

Lewis: [Billboard’s] Women in Music [has] been an amazing platform not only honoring the talent but also bringing awareness to the behind-the-scenes executives pushing the industry forward. We need more of this. When you put your heart and soul into all that you do and succeed at it, it should raise you up, not keep you stagnant at a company.

Adler: It used to be that the males would pit us against each other because the women weren’t close to each other and there were very few slots. It’s taken a long time to change the narrative of “She can’t be in leadership because she doesn’t get along with so-and-so.”

I don’t know if I should say this, but I’m going to. Women in Music is such a powerful issue. There are few places to celebrate what we do. On the other hand, I say to myself, “But I should be part of the overall list.” I play with the boys every single day. I appreciate all of it and it means so much to me, but that’s where I am today: I love my female sisterhood, but I can also play with everybody.

This story appears in the March 22, 2025, issue of Billboard.

Live Nation, BMI, ASCAP, Nettwerk Music Group, Soundstripe and the Recording Academy rank among the best places in the music business for women to work, according to a first-of-its-kind survey.

The 40-year-old nonprofit organization Women in Music, in partnership with company reviews platform InHerSight, has unveiled its first edition of WIM Best Places To Work, recognizing top companies in several areas, based on industrywide initial survey data. Women in Music, established in 1985, describes its mission as serving “to advance the awareness, equality, diversity, heritage, opportunities and cultural aspects of women in the musical arts through education, support, empowerment and recognition.”

“The music industry has long been a cultural force for change, and now more than ever, we have to take the lead in prioritizing diversity in leadership as much as the diversity of the music we represent,” Women in Music president Nicole Barsalona says.

“Research shows that gender-diverse leadership drives revenue, innovation and talent retention — it’s not just good practice, it’s critical to our success as an industry,” Barsalona says. “Future surveys will include increased diversity metrics to add even more depth to the data, but this is an exciting start.”

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The WIM Best Places To Work initiative honors music companies that demonstrate excellence in fostering inclusive workplace culture and ensuring satisfaction across metrics that matter to women, such as salary, leadership opportunities, remote work options and parental leave.

Women in Music notes that the survey is ongoing and accessible through its website to ensure that it’s continually updated to reflect the latest industry standards in workplace excellence.

“Our philosophy has always been that data is central to building better workplaces,” InHerSight co-founder and CEO Ursula Mead says. “So when organizations like Women in Music come to us recognizing the power of data, we’re thrilled to realize their initiative.”

The survey cites research from consulting firm McKinsey that states that companies with strong female representation at the top outperform competitors by nearly 50% in profitability and share performance.

In addition to those previously named, smaller companies and organizations (of two to 51 employees) that ranked high on the survey include the Music Business Association, The Syndicate, Blackstar Agency, the American Association of Independent Music and the Mechanical Licensing Collective.

“I’m thrilled to know that the Music Business Association scored so well in the WIM Best Places To Work survey,” MBA president Portia Sabin says. “Diversity is very important for us in all aspects of what we do, and we’ve worked to diversify our board, our events and our staff. One thing we strive for is to have diversity at all levels of the company, providing a mentorship aspect for younger people who may join us. It’s very true that our diversity makes us stronger as a team and makes this a great place to work.”

The survey collected data on 17 research-backed metrics. The results singled out the top companies in categories including equal opportunities for women and men, women in leadership, salary satisfaction, flexibility, remote work opportunities, maternity and adoptive leave, employee responsiveness and a sense of belonging.

Live Nation, for example, stood out for its maternity and adoptive leave policies, ability to telecommute, remote work opportunities, flexible work hours and equal opportunities for men and women.

The WIM Best Places To Work initiative has been launched at a challenging time for corporate America, says Monika Tashman, a partner at prominent music industry law firm Loeb & Loeb and an advisory board member at Women in Music.

“With diversity, equity and inclusion programs terminated at the federal level and a vow to police the private sector’s DEI initiatives,” she says, “it is vital that we publicize, promote and encourage private sector companies that are committed to constructing a workplace culture and benefits package that is unbiased and crafted to allow all employees to thrive.”

Women in Music is a 501(c)3 charitable organization, unaffiliated with Billboard, founded in 1985 to educate, empower and advance women in the music industry. WIM hosts year-round educational and career development programming in chapter markets around the world, with equity-focused initiatives that include WIM Safe(r) Spaces, the WIM Workplace Initiative, the WIM Mentorship Program and the WIM Executive Internship Program. To become a charitable partner or to make a donation, go to womeninmusic.org.

This story appears in the March 22, 2025, issue of Billboard.

Ariana Grande‘s deluxe Eternal Sunshine album may promise that brighter days are ahead, but a new teaser for the superstar’s accompanying short film is, on the contrary, distinctly dark and moody.

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In a black-and-white Casablanca-esque clip posted Thursday (March 20), a fuzzy string lullaby plays over the sound of seconds ticking by on a stopwatch, which a man holds open on a wooden table. Inside the lid of the watch is a photo of Grande when she was young, at the time missing her front teeth.

The Old Hollywood-inspired teaser then cuts to a wide shot of a gentleman in a trench coat and top hat strolling through a street lined with brick European buildings.

The clip comes eight days ahead of Grande’s Brighter Days Ahead short film, which will serve as a companion piece to her Eternal Sunshine deluxe album, also dropping March 28. The Wicked star co-directed the visual with longtime collaborator Christian Breslauer, who helmed the music videos for Eternal Sunshine singles “Yes, And?,” “We Can’t Be Friends (Wait for Your Love)” and “The Boy Is Mine.”

Grande has slowly been rolling out details about the new projects since first announcing the long-awaited Eternal Sunshine deluxe release date March 10. Earlier this week, she unveiled the project’s tracklist featuring six new songs: “Intro (End of the World) Extended,” “Twilight Zone,” “Warm,” “Dandelion,” “Past Life” and “Hampstead.”

She also previously dropped a teaser video for the short film in which a robotic voice says, “Welcome back, Peaches,” seemingly confirming that Grande will reprise her character from the Eternal Sunshine of the Spotless Mind-inspired “We Can’t Be Friends” video in Brighter Days Ahead.

See Grande’s new short film teaser below.

UPDATE (March 20): Ariana DeBose, Brandon Victor Dixon, LeAnn Rimes, The War and Treaty, Taylor Dayne, Sofia Carson, Micaela Diamond, Shoshana Bean and Angélique Kidjo will join The New York Pops to honor songwriter Diane Warren at the orchestra’s 42nd birthday gala, Words and Music: Diane Warren, on Monday, April 28, in Stern Auditorium/Perelman Stage at Carnegie Hall. Additional guest artists will be announced.

Several of these artists have noteworthy ties to Warren. Dayne sang “Love Will Lead Me Back,” which in April 1990 became Warren’s fifth No. 1 hit on the Billboard Hot 100 as a songwriter. (She has since had four more.) Rimes had a No. 2 Hot 100 smash with “How Will I Live,” which in 1998 became Warren’s third song to receive an Oscar nomination for best original song. (She has since had 13 more.) It also became her second song to receive a Grammy nod for song of the year. (She has since had one more). Carson sang “Applause” in the film Tell It Like a Woman, which two years ago became Warren’s 14th song to receive an Oscar nomination for best original song. (She has since had two more.)

Diamond was an original Broadway cast member of The Cher Show. Cher sang two of Warren’s 33 top 10 hits on the Hot 100 to date, “If I Could Turn Back Time” (perhaps Cher’s most iconic hit) and “Just Like Jesse James.” Warren co-wrote the latter song with Desmond Child.

PREVIOUSLY (Nov. 19, 2024): The New York Pops will honor songwriter Diane Warren with “Words and Music: Diane Warren,” on Monday, April 28, at 7 p.m. in Stern Auditorium/Perelman Stage at Carnegie Hall. The concert will feature Warren’s songs performed by a lineup of guest artists to be announced. Steven Reineke, music director and conductor for the New York Pops, will serve in those capacities at this show, which doubles as the New York Pops 42nd birthday gala.

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“We are delighted to be celebrating 42 years of The New York Pops with the amazing songwriter Diane Warren,” Reineke said in a statement. “Diane has written some of the most beloved words and music of the past four decades, and we are thrilled to add ‘New York Pops Music Honoree’ to her long list of awards and accolades.”

Tickets will go on sale to the public in January, with New York Pops donors of $100 or more receiving early access. Proceeds from the gala support The New York Pops orchestra and the organization’s PopsEd music education programs. The concert will be followed by a black-tie optional dinner and dance at the Mandarin Oriental New York.

Warren has penned nine No. 1 and 33 top 10 hits on the Billboard Hot 100. Her songs have been featured in more than 150 films, leading to 15 Academy Award nominations for best original song. In November 2022, she became the first songwriter in history to receive an Honorary Oscar, as voted on by the Academy’s Board of Governors. She has won a Grammy, a Primetime Emmy winner and two Golden Globes. She was inducted into the Songwriters Hall of Fame in 2001 and received that organization’s top prize, the Johnny Mercer Award, in June 2024.

Welcome to Publishing Briefs, our semimonthly bulletin of recent signings, deals and doings in the wide world of music publishing. Since we last spoke, Primary Wave bought a stake in a Notorious catalog, Eslabon Armado frontman Pedro Tovar inked a deal with Kobalt, reggaetón star Ryan Castro signed with Warner Chappell, BMI said it will no longer charge an application fee when new songwriters seek to join, Sevdaliza signed her first-ever publishing pact with Sony Music Publishing, Word Collections launched a royalty collection service, and Joaquina signed a global deal with WCM.

Caught up? Here’s what else is going on:

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Reservoir Media signed a new publishing deal with five-time Grammy-nominated R&B artist El DeBarge. The agreement covers his solo catalog and hits from his time with the family group DeBarge, along with future projects. El DeBarge’s career began in the 1980s when Berry Gordy signed him and his siblings to Motown Records, leading to hits like “You Wear It Well,” “Time Will Reveal,” “Love Me in a Special Way” and “All This Love.” His solo career took off in 1986 with the hit “Who’s Johnny,” which reached No. 3 on the Hot 100, and he continued to release successful albums, including 1994’s Babyface-assisted Heart, Mind and Soul. Over the years he has collaborated with legends like Dionne Warwick, Quincy Jones, Al Green and the Isley Brothers. “I’ve been a fan of DeBarge and El in particular since I was 16 years old, so I’m incredibly humbled to welcome him and his evergreen hits to the Reservoir family,” said Reservoir evp of A&R and catalog development Faith Newman. “His music has touched generations, and we are excited to work with him to further amplify his incredible catalog.”

Artist House signed award-winning songwriter and producer Sam Hollander to an exclusive global administration deal. Known for hits with Panic! At The Disco, Weezer, Katy Perry, Fitz and the Tantrums, Cobra Starship, One Direction and more, Hollander is “one of the best topliners of the last 20 years and one of the highest-quality people you’ll ever meet,” said Artist House co-founder Gregg Wattenberg. In the early 2000s, Hollander gained recognition as one-half of the production duo S*A*M and Sluggo, alongside Dave Katz. Together, they played a key role in shaping the pop-punk sound of Fueled By Ramen’s golden era. His work has also appeared in films and TV, and he notably held the No. 1 spot on the Billboard Rock Songwriters Chart for nine weeks. In 2022, Hollander released his memoir, 21 Hit Wonder, providing an insider’s look at his journey through the industry. Hollander, with 23 U.S. Top 40 hits to his name, said joining Artist House “feels like coming home,” adding that “their vision for the future of the music business and their dedication to revitalizing the New York songwriter community align perfectly with my passion for this city’s rich musical legacy.”

Billy Steinberg and his son Ezra Steinberg signed new global publishing deals with Sony Music Publishing. This expands SMP’s partnership with Billy, which began in 1992, and introduces Ezra to SMP’s roster. Their works will be under Steinberg Music, their newly formed company. The elder Steinberg’s latest deal with SMP covers his newer catalog, including hits like “I’ll Stand by You” by The Pretenders and “Give Your Heart a Break” by Demi Lovato. This move consolidates his newer catalog with his original SMP catalog, featuring Billboard Hot 100 #1 hits like “Like a Virgin” by Madonna, “True Colors” by Cyndi Lauper and “Eternal Flame” by the Bangles, among others. Billy was inducted into the Songwriters Hall of Fame in 2011. Brian Monaco, president and global chief marketing officer of SMP, expressed excitement about expanding their partnership with Billy — “an extraordinary songwriter whose music speaks to all generation” — and welcoming Ezra. “Representing Billy’s catalog continues to be one of our greatest privileges and we are honored that he’s entrusted us to champion these treasured songs,” he said.

Katie Welle, Ezra Steinberg, Billy Steinberg and Jon Platt
SMP president and head of US A&R Katie Welle, Ezra and Billy Steinberg, and chairman/CEO Jon Platt

Raleigh Music Publishing and the ICM Crescendo Music Royalty Fund have partnered to acquire a majority interest in the Cal Mann publishing catalog, which includes such songs as Chubby Checker’s “Let’s Twist Again,” The Dovells’ “Bristol Stomp” and House of Pain’s “Jump Around.” The latter song is in the Mann catalog through sampling Mann’s co-written song, “Popeye the Hitchhiker,” also by Checker. Terms of the deal were not disclosed. The acquired catalog includes over 200 songs in all, according to the announcement. Besides the above songs, Mann also was involved in writing songs for Elvis Presley Bobby Rydell, Pat Boone and Charlie Grace, among others. Raleigh Music Group co-president Peter Raleigh expressed excitement about the partnership, highlighting the potential for new opportunities through sync placements and creative initiatives to “introduce these classics to new audiences.” –Ed Christman

Sony Music Publishing UK signed singer-songwriter Freya Ridings to an exclusive global publishing deal, covering her future works, including her upcoming third studio album. Ridings rose to fame in 2018 with “Lost Without You,” earning a BRIT nomination and leading to her debut album. Her sophomore release, Blood Orange, featured hits like “Castles” and “Weekends” and helped her accumulate nearly 4 million monthly Spotify listeners. Sony Music Publishing UK president David Ventura lavished praise upon Ridings’ songwriting and voice, calling it a long-awaited partnership. “For almost a decade, I have been trying to work with Freya, simply because her songwriting and voice are hypnotizing,” he said. “After all this time, it is exciting to have the opportunity to finally be in her team. Freya’s songwriting is inspired – she has many things to write about and her work ethic is incredible.” For her part, Ridings said “it’s been a dream of mine since 19 to sign” with Sony.

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Concord Music Publishing has signed Nashville-based singer-songwriter Zachary Knowles, with the deal including all Knowles’ future works. In 2021, Knowles released his debut album, tendency to be a loner, and this past July issued his latest EP Look Mom, No Hands. “When I first met Zachary, I felt an instant creative connection,” said Melissa Spillman, vp of A&R at CMP. “He is a multi-faceted songwriter and artist who can create great music in so many different genres, and I am thrilled to have him join the Concord family.” –Jessica Nicholson

Melody Place signed singer-songwriter Melody Federer as the first standalone writer under its publishing arm, Melody Place Publications. Melody Place president Sandy McGraw, who has long admired Federer’s work, highlighted her innovative songwriting and said he’s thrilled to have her on board. Federer will play a key role in artist development, collaborating with artists like Katharine McPhee. Federer has worked with major artists such as Pink, Michael Bublé, and Kelly Rowland, and co-written with legends like Burt Bacharach. Federer has also released solo material, including “This Town” and “The Wonder Years,” featured on “Elton John’s Rocket Hour” radio show. Her latest release is the indie-pop track “Knocked Up.”

Centricity Music, an indie Christian music company, signed indie-rock/alt-pop artist and California native John Allan to a recording and publishing contract. Allan’s music is inspired by artists including The National, Gang of Youths and The Killers, and he’s set to release his debut single via Centricity later this month. “People are going to believe something about God based on what the song is saying,” said Allan, who released a pair of EPs in 2022. “I really believe it’s about stewarding what He’s planted and chasing the idea until it’s healthy enough to thrive in someone else’s life.”

Last Publishing Briefs: Reservoir Makes a ‘Key’ Move in Egypt

Primary Wave said on Thursday it partnered with The Notorious B.I.G.‘s estate to acquire a stake in the Brooklyn rapper’s music publishing and recordings, as well as certain name, image and likeness rights.

Terms of the deal were not disclosed. The Wall Street Journal reported earlier on Thursday that Biggie Smalls’s late mother, Voletta Wallace, reached the deal with Primary Wave shortly before her death earlier this year, and that it valued his estate at $200 million.

The celebrated MC was born Christopher Wallace on May 21, 1972, in Brooklyn, and while he was killed in 1997, his influence on hip-hop and rap and his role in launching the careers of artists like Lil Kim and Junior M.A.F.I.A. has led to the sale of more than 28 million albums in the United States and a steady rise in the value of his works.

Biggie’s albums Ready To Die, Life After Death and the posthumously released Born Again spent the combined equivalent of more than 3 years on Billboard‘s top album sales chart, with Life After Death and Born Again both hitting No. 1.

The rap icon had 15 songs chart on the Billboard Hot 100, including “Mo Money Mo Problems” featuring Puff Daddy, Ma$e and Kelly Price, which was No. 1 for two weeks in 1997, “Hypnotize,” which spent three weeks at No. 1 the same year, “One More Chance/Stay With Me,” “Big Poppa/Warning” and “Juicy/Unbelievable.” Biggie was inducted into the Rock and Roll Hall of Fame in 2020.

Primary Wave’s portfolio of songs includes works by Whitney Houston, The Doors, James Brown, Stevie Nicks, Nirvana, Prince and Bob Marley. The company and estate described this as a “panoramic partnership that will encompass The Notorious B.I.G.’s music publishing and recordings, as well as his name, image and likeness.”

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Name, image and likeness rights are needed to license an artist’s work for films. Known for its role in licensing music for biopics, like Bob Marley: One Love and Whitney Houston: I Wanna Dance With Somebody, Primary Wave is currently involved in biopics about Boyz II Men and Boy George—both of which are in production.

“The estate and Primary Wave will collaborate on all business moving forward in an effort to continue the incredible and innovative ork done thus far with one goal in mind, to keep the legacy of The Notorious B.I.G. alive,” the company said in a statement.

Taylor Swift is now a part of Benny Blanco‘s life in more ways than one since his romance with Selena Gomez started.

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In addition to the pop star being one of his famous fiancée’s closest friends, the producer has also apparently welcomed Swift’s music into his life after the Rare Beauty founder got him hooked. During the couple’s appearance on Hot Ones in an episode posted Thursday (March 20), Blanco — while persevering through distracting hot sauce-induced sweat and tongue prickling — explained how Gomez turned him onto her bestie’s discography.

“I honestly didn’t know … before we started dating, like obviously, I was aware of Taylor Swift’s music,” he said as Gomez nodded pridefully. “But I wasn’t like a true Swiftie until I was with [Selena]. And now I’ll be like, ‘Put that song on. How’s that one go again?’ And we’re in the car, and I’m like, ‘Wow I’m just singing Taylor Swift songs from 10 years ago and I feel free.’”

“They’re timeless, what can I say,” the Only Murders in the Building Star added of the “Karma” singer’s music.

The couple’s appearance on Hot Ones arrives just one day ahead of their joint album, I Said I Love You First, which is led by singles “Scared of Loving You,” “Call Me When You Break Up” featuring Gracie Abrams and “Sunset Blvd.” Before the heat of the wings took over Gomez’s ability to speak, she said of working with her partner on the LP, “I felt like I could tell him things that maybe I was feeling insecure about that I wouldn’t feel like I could open up to any other producer that way, let alone like a partner.”

“When you work with people, sometimes you butt heads,” Blanco added. “Every time one of us had a discrepancy on something, the other one was like, ‘Oh OK, yeah that’s chill.’ And we also got to make [the album] in our house, in our bedroom. It just felt low stakes.”

Gomez also reflected on earning her first-ever No. 1 on the Billboard Hot 100 back in 2019 with “Lose You to Love Me.” “I thought the song was going to be hopefully relatable and beautiful and honest, but I did not expect it to do what it did,” she said. “And it was much bigger than me.”

A few rounds of hot sauce later, however, both Blanco and Gomez were a lot less eloquent as they tried to focus all of their energies on making it through the spice challenge. At one point, the Wizards of Waverly Place alum had to stand up and take a few steps to recenter herself, yelling, “Why? Why do people do this?” before furiously pressing her tongue against her napkin.

Blanco also struggled to get through the final questions, noting that the heat of the wings was making him lose “motor skills.” And at the end, the pair disagreed on whether the Hot Ones challenge is suitable for couples. “I feel like I would’ve crumbled without her,” Blanco said cheerfully, to which Gomez shot back, “You did crumble. Couples, don’t play this game.”

Watch Blanco and Gomez on Hot Ones above.

Indie label, publisher, distributor and content company EMPIRE has officially launched in South Africa, with a new office in Johannesburg, several executive hires and a launch party that featured some of the company’s biggest artists from the continent.

The office is the latest push into Africa from EMPIRE, which already operates an extensive business in Nigeria and has a division that oversees operations in MENA (Middle East/North Africa) as well. Overseeing the South African office will be EMPIRE vp of strategy and market development Ezegozie Eze Jr., while additional execs will include territory manager Innocent Nkosi-Shongwe, A&R Xivonaki Manzini and senior manager for commerce and streaming partnerships for Africa Jina Min.

“Establishing our footprint across Southern Africa is fully aligned with our mission to bring music and culture to a global audience,” EMPIRE founder/CEO Ghazi said in a statement. “We’ve already set out early on to strengthen operations in West and North Africa, and now we have the perfect team to spearhead our efforts in the Southern Africa region.”

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EMPIRE launched officially in Africa in 2022, based in Lagos, Nigeria, having served as a distributor for several labels and artists in West Africa since 2016. Eze joined the Africa team four years ago from Universal Music Group Nigeria, where he had been general manager; Min also joined EMPIRE in 2022, having worked at UMG and Sony; Innocent is joining from UMG South Africa to oversee EMPIRE’s label operations in the country; while Xivo has worked with artists and brands such as Beyoncé, PJ Morton, Coca-Cola and Netflix.

“With our expansion from West Africa into Southern Africa, EMPIRE is committed to amplifying the region’s rich and diverse soundscapes, developing the next wave of generational talent and driving greater commercial success for independent artists and the industry as a whole,” Eze said in a statement. Added Innocent, “Music, culture and independence are at the core of our operations at EMPIRE. We aim always to ensure artists can trust that we want the best for them and their careers. We are more than a label; we build brands and encourage artists to pursue their creativity authentically.” 

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As part of the launch, EMPIRE held a kickoff party in January called ASAMBE! South Ahh, which featured performances from the likes of Emtee, Goldmax, Ndabo Zulu, Nontokozo Mkhize and Sminofu, among others, while EMPIRE artists like Fireboy DML, Black Sherif and L.A.X. were in attendance. The company also launched what it is calling the EMPIRE Exclusives DJ Mixer, which is a platform that allows artists and producers to play unreleased music together, according to a press release.

This is the latest expansion for EMPIRE, which in recent months has also opened offices in Australia and East Asia as well as completing the acquisition of Top Drawer Merch, among other moves.

Approximately 100 years after the Grand Ole Opry launched when radio announcer George D. Hay invited fiddler Uncle Jimmy Thompson to play some of his fiddle tunes on the air on WSM-AM (the program was initially called the WSM Barn Dance and renamed the Grand Ole Opry in 1927), many of country music’s biggest stars came together to celebrate the Opry’s centennial anniversary Wednesday night (March 19) at the Grand Ole Opry House.

The three-hour show Opry 100: A Live Celebration aired on NBC and simulcast on Peacock, and feted the Grand Ole Opry’s 100-year evolution and unyielding devotion to promoting country music and its biggest talents.

A who’s who of country music musicians took part, including nearly 50 official Opry members. Among the artists taking part were Trace Adkins, Bill Anderson, Kelsea Ballerini, Dierks Bentley, Clint Black, Garth Brooks, Stephen Curtis Chapman, Luke Combs, Crystal Gayle, Alan Jackson, Jamey Johnson, Alison Krauss & Union Station, Barbara Mandrell, Ashley McBryde, Reba McEntire, Carly Pearce, Brad Paisley, Post Malone, Blake Shelton, Ricky Skaggs, Marty Stuart, Randy Travis, Carrie Underwood, Keith Urban, The War and Treaty, Lainey Wilson, and Trisha Yearwood.

Along the way, music both past and present was highlighted, from Luke Combs performing the George Jones classic “The Grand Tour” to Reba McEntire highlighting the music of Patsy Cline and Loretta Lynn, while Post Malone and Ashley McBryde paid homage to Johnny Cash and June Carter Cash with a rendition of “Jackson.” Lainey Wilson and Marty Stuart honored Hank Williams, Sr. with a rendition of “Lost Highway,” before Wilson performed her own breakthrough hit “Things a Man Oughta Know.”

The majority of the event aired live at Nashville’s Grand Ole Opry House, while some performances were held at Nashville’s Ryman Auditorium, the Opry’s home from 1943 to 1974 (the Ryman still often hosts Opry shows during the winter and on other occasions).

The evening ended with a video of Dolly Parton sending her best wishes to the Opry. Then, an all-sing concluded the event, with a multitude of artists showing their devotion to Parton — and the genre overall — as McEntire led the star-studded choir in performing “I Will Always Love You.”

The telecast was executive produced by Silent House Productions’ Emmy Award winners Baz Halpin, Mark Bracco and Linda Gierahn, along with R.A. Clark and Steve Buchanan. See Billboard‘s ranking of 10 of the best moments from the event below.

Sitting in a sun-drenched room at Los Angeles’ Beverly Hilton, Gracie Abrams is shaking her head “no.” She’s reflecting on a breakout 2024 — during which she scored her highest-charting Billboard Hot 100 hit to date and received her second Grammy Award nomination, for “Us,” a collaboration with none other than Taylor Swift. But Abrams still struggles to see herself as the superstar she’s become.

“It’s such a dream and a pretty wild ride to look back on the year and be able to reflect on all of these moments that I never could have imagined ever happening,” the 25-year-old says in quiet awe. When it comes to the matter of her smash hit “That’s So True,” it is true — she never saw it coming. After humming the song’s in-the-works hook and melody for months, she and her songwriting partner and roommate Audrey Hobert finished it in about 15 minutes one day after “laughing our asses off on the roof” of New York’s Electric Lady Studios.

Join us at Billboard Women in Music 2025 — get your tickets here.

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The catchy, stream-of-consciousness song was one of four additions to the deluxe version of Abrams’ second album, The Secret of Us (which arrived in October), but quickly surpassed the album’s previous hits, including “I Love You, I’m Sorry” and “Close to You” (which peaked at Nos. 19 and 49, respectively, while “True” reached No. 6). Such wins have helped Abrams, who co-wrote and co-­produced every track on The Secret of Us and its deluxe edition, earn the Billboard‘s 2025 Women in Music Songwriter of the Year honor — but, with characteristic humility, she won’t say she’s mastered the craft just yet.

“F–k no! Sorry,” she says with a laugh. “I feel very far away from having mastered anything in my life. But I will continue to attempt to get closer to that point.”

Gracie Abrams photographed February 1, 2025 at The Beverly Hilton in Los Angeles.

Since you released your debut album in 2023, how have you grown as a songwriter?

What I can point to specifically that has broadened my horizons is the partnership I’ve had with Audrey. She’s my oldest friend and we very much grew up together, and then to fold in this collaborative [relationship] was not something either of us ever would have anticipated. But as a songwriter, to find someone who you feel so open with, who you trust so much, who knows everything about you, who knows what your conversational language sounds like, who knows if you’re lying about a feeling… it infused so much life into our album that we made together.

What’s an example of a time she called “bulls–t” on you?

Less like “bulls–t” and more [like] in the morning if I would come downstairs and she’s like, “How are you doing?” I’m like, “I’m fine.” And she’s like, “You f–king liar.” Or like, “I’m really over that person,” [and she’s like,] “No, you’re not, you liar.” We checked each other as much in our songwriting process as we did in our day-to-day friendship.

Gracie Abrams photographed February 1, 2025 at The Beverly Hilton in Los Angeles.
Gracie Abrams photographed February 1, 2025 at The Beverly Hilton in Los Angeles.

As we speak, you’re about to head out on your European/U.K. tour [which Abrams wrapped March 12]. How did you spend your time before returning to the road?

I have just come back from being at Aaron [Dessner’s studio, Long Pond, in New York] so I feel like… I’m in the middle of something. I don’t know what it is yet… We’ve been collecting a whole lot of music over the past few months, and he and I are both very curious about all of it because I think [the songs] belong in different worlds a little bit, which excites me. I think that means there are many possibilities for what either the singular project looks like or multiple [projects].

You said you haven’t mastered songwriting yet. Do you feel close?

No. Oh, my God, no. I want to broaden my vocabulary times a thousand. I want to spend the majority of my year reading so that I can do that. I feel nowhere near that level. I have a million people I want to continue to learn from. Taylor is a great example of someone I’ve been lucky enough to spend a lot of time around and every single time I’m like, “Tell me everything you know, please. Teach me how to be.” I want to live fully and do my best to capture what that feels like.

Gracie Abrams photographed February 1, 2025 at The Beverly Hilton in Los Angeles.
Gracie Abrams photographed February 1, 2025 at The Beverly Hilton in Los Angeles.

This story appears in the March 22, 2025, issue of Billboard.