The U.K.’s Jewish Leadership Council has issued a statement condemning the Wireless Festival for booking Ye (formerly Kanye West) as the headliner of all three nights (July 10-12) of the this year’s event at Finsbury Park in London. A spokesperson for the Council told the Guardian, “It is deeply irresponsible for Wireless festival to be headlining Kanye West. The UK Jewish community is facing record levels of antisemitism, including a terrorist attack in Manchester, the attack on ambulances in Golders Green and foiled plots which would have killed many more.”
West has a long history of making antisemitic statements, from releasing a song called “Heil Hitler,” to selling T-shirts with swastikas on them and declaring himself a Nazi.
“West has repeatedly used his platform to spread antisemitism and pro-Nazi messaging,” the Council told the paper. “His most recent apology must be considered in the context that he went on to sell swastika T-shirts and release a song called Heil Hitler after apologizing previously. Any venue or festival should reconsider before providing their platform to Kanye West to spread his antisemitism.”
In addition, the U.K.’s Campaign Against Antisemitism told Far Out magazine that it was also vehemently opposed to the booking. “Kanye West has dedicated years of his life to trying to incite his followers to hate Jews,” a spokesperson for the charity said. “He has more followers than there are Jews on Earth, so his incitement has a huge impact. His cycle of apology and relapse has become a routine, so as with any addict once again we must wait to see if this time is any different.”
The charity noted that, as in the past, West’s most recent apology for his hate speech came on the even of the release of a new album, Bully, which dropped last week. “It is disappointing that venues have been so quick to invite someone who was so recently peddled conspiracy theories, Hitler worship and bigoted lies – including now one of the UK’s biggest festival stages. If he remains on the right path and makes more effort to make amends, that is well and good, but if he returns to his old ways these venues will have much to answer for.”
The festival run by Festival Republic, which is part of Live Nation, announced on Monday that West would headline all three nights of this year’s event, similar to Drake’s three-night stint last year, calling it a “three-night journey through his most iconic records.” The shows in support Bully will be West’s first gigs in the UK in 11 years and come after the rapper, 48, took out a full-page ad in the Wall Street Journal in January apologizing for his repeated incidents of hate speech against the Jewish people, claiming that his 2022 car crash caused brain damage that led to mental health issues.
“I said and did things I deeply regret. Some of the people I love the most, I treated the worst,” Ye wrote. “You endured fear, confusion, humiliation and the exhaustion of trying to love someone who was, at times, unrecognizable. Looking back, I became detached from my true self.” He added, “In that fractured state, I gravitated toward the most destructive symbol I could find, the swastika, and even sold T-shirts bearing it,” claiming that he is now “committed to accountability” while saying he is “not a Nazi.” West issued a similar apology in 2023, just ahead of the release of his Vultures album.
West’s once formidable music and fashion empire melted down in 2022 after the rapper went on a monthslong spree of antisemitic comments, including printing the neo-Nazi phrase “White Lives Matter” on shirts as his Yeezy Paris Fashion Week show in October of that year, following an incident in which he said he was going “death con [sic] 3 on Jewish people” and later repeatedly praised Hitler and said he was a Nazi.
Those incidents, and several others like it, resulted in Ye losing lucrative deals with a number of former business partners, including Balenciaga, Adidas, Gap, Foot Locker and label UMG, as well as the scrapping of a planned documentary and the talent agency CAA dropping him as a client, among many other sanctions.
Ye headlined the Wireless Festival in 2014 and though he has performed less often since the backlash to his antisemitic comments, he is booked to make his return to the stage in the U.S. tonight (April 1) with the first of two shows at SoFi Stadium in Inglewood, Calif.
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.pngYveto2026-04-01 12:51:012026-04-01 12:51:01U.K.’s Jewish Leadership Council Calls Three-Night Kanye West Booking at Wireless Festival ‘Deeply Irresponsible’
The Warner Music Group (WMG) has entered a definitive agreement to acquire Revelator, the B2B music distribution platform, the companies announced today (April 1). The transaction is expected to close next quarter, according to a press release.
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Revelator specializes in digital music distribution, rights management, royalty accounting and real-time analytics, with cloud-based tools helping to streamline operations and financial reporting for artists, labels and distributors. Among the platform’s features include Revelator Pro, Revelator API and its white label solutions, which it can offer to independent labels. The deal will allow Revelator to offer their services to WMG’s artists and distributed labels, helping to scale the major label’s distribution and services offerings, which are currently housed under its ADA division..
“The combination of Revelator’s leading-edge technology and array of premier services with our global infrastructure will turbocharge our joint mission to support more labels and artists around the world,” WMG CEO Robert Kyncl said in a statement. “I’m very pleased to welcome the Revelator team to the WMG family.”
“Since launching Revelator in 2012, we’ve striven to make the music industry fairer, simpler and more transparent by bridging the gap between creativity, technology and distribution,” Revelator founder and CEO Bruno Guez said in a statement. “We’re very happy to partner with WMG to superserve artists, labels and distributors around the world.”
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Warner has been looking into acquiring a distribution company for the past two years, with several deals either falling through or not coming to fruition for various reasons. Most notably, the company looked into acquiring French music company Believe in early 2024, even submitting a non-binding offer, before ultimately calling off their plans that April. Shortly after, Warner hired Goldman Sachs banker Michael Ryan-Southern to lead their search for a distribution company, eyeing top DIY distros Distrokid and CD Baby, with other rumors circling the indie distributor Too Lost, though none of those deals materialized. Last year, Kyncl said the company was willing to forgo a purchase if they could build one themselves, a plan from which Warner ultimately backed away.
The deal comes amidst a broader consolidation in the industry, particularly in the distribution space, with Universal’s recent acquisition of Downtown Music for $775 million the headline deal in that arena. Amid the rollup craze, prices had soared for these types of companies, and major labels have been looking to shore up market share and offer a larger pipeline for artists of all sizes to flow through their systems — a trend that has both ratcheted up competition and led to some consternation among the indie music community, particularly those who have eschewed working with majors in any capacity.
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.pngYveto2026-04-01 12:41:062026-04-01 12:41:06Warner Music Group Acquires Digital Distributor Revelator
Lizzo made a major confession about her sex life during an appearance on Benny Blanco and Lil Dicky’s Friends Keep Secrets podcast on Tuesday (March 31). “I was a late bloomer. I lied about it for a long time,” the “About Damn Time” singer, 37, said as the hosts tried to guess her age when she lost her virginity.
“Isn’t that crazy? … I wasn’t even thinking about it. For me, I just promised myself when I was younger that I wouldn’t have sex until I won a Grammy,” she explained. She won her first Grammy Award in 2020, when the deluxe version of her Cuz I Love You album took home best urban contemporary album, along with wins for best pop solo performance for “Truth Hurts” and best traditional R&B performance for “Jerome.”
When Lil Dicky asked, “Do you think you would have stuck to that? No. Eventually you would have f–ked had you not won the Grammy?,” Lizzo said “Who knows?” She also clarified that she didn’t actually have sex the night of the Grammys, but pretty soon after. And although she made the pact with herself and was excited to achieve her goal, she wasn’t thinking about sex when she won.
“I didn’t even know that it was in my cards,” she explained when co-host Kristin Batalucco asked if the excitement of the Grammy wins was overshadowed by her excitement to have sex. “I wasn’t even really set up for that,” Lizzo said.
Dicky said he could totally relate to lying about being a virgin, relating how when he was in college and his friends would ask if he was going to have sex that weekend he would act like it was definitely going to happen, like, a lot.
The singer said she also used to lie about being a virgin, saying it was “so embarrassing.” Lizzo described having a friend group of girls who were all grilling each other one night about their sex lives and when one of them asked if she was a virgin she remembers responding with an indignant “no. I remember it was so embarrassing,” she recalled. “I said, ‘I love the D!’ I said that. It was so f–king embarrassing … I was like, ‘I love the D’ and it held me over for a little while.”
She also revealed that her first kiss was at 21, explaining that it was a religious thing as well as a Grammy thing. “When we were teenagers at my church, we all made a pact that we wouldn’t do anything before marriage,” she said. “And then, I was just so scared. No one wanted to kiss me.”
And when she did have that kiss, frankly, “it was terrible. It was a New Year’s Eve thing and he, like, forced it on me,” she said. “I was really mad and I was like, ‘My first kiss is ruined!’”
Watch Lizzo discuss her sex life on Friends Keep Secrets below.
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.pngYveto2026-04-01 12:03:592026-04-01 12:03:59Lizzo Vowed to Keep Her Virginity Until She Won a Grammy: ‘I Was a Late Bloomer’
SYDNEY — Australia’s federal government has passed the Copyright Amendment Bill, a piece of legislation that introduces for the first time an “orphan works” scheme, which should provide greater legal certainty when working with copyright material where the owner is unknown or unlocatable.
The Copyright Amendment Bill 2026 amends the Copyright Act 1968, and delivers two important reforms.
The first, relating to orphan works, provides certainty with works where copyright owners can’t be identified or located, which is supporters say will benefit researchers, educators, cultural institutions and the wider community.
According to a statement from the federal government, the scheme provides “reasonable scope” for copyright owners to step forward and assert their rights in the rare case an owner is later identified. The search requirements under the scheme may also help reunite copyright owners with works that have unintentionally become orphaned and allow them to once again benefit from their exclusive rights.
Australians “now have legal certainty when it comes to the use of copyright material considered ‘orphaned’, unlocking their potential for learning, innovation and public benefit,” comments the Attorney-General, Michelle Rowland MP. “We are strengthening the rights of copyright owners by establishing a new mechanism for them to assert their rights and receive reasonable payment.”
Also, the Bill clarifies that existing exceptions for the use of copyright material in classrooms apply equally in online settings, a move the creative industry welcomes as smart move that reflects the reality of modern teaching.
Both outcomes were the product of years of careful consultation, and passed as intended, reads a statement jointly signed by Australia’s creative sector.
“Australia’s world-leading education licensing scheme is comprehensive by design and covers everything teachers and students need including recorded lessons, distance education, online delivery and content accessed by students wherever they are,” reads a joint statement signed by AMPAL, APRA AMCOS, ARIA PPCA, Australian Publishers Association,Australian Society of Authors, Australian Writers’ Guild, AWG Authorship Collecting Society, Copyright Agency, National Association for the Visual Arts and Screenright.
The amendments proposed by the education lobby “would have introduced unnecessary complexity where none currently exists and would have been used to justify reducing the fair compensation paid to creators at the next licence negotiation. That is the established pattern of every previous attempt to replace licensing with exceptions.”
Although the outcome is welcome, and said to be “modern, balanced and fit for purpose,” creator groups on Wednesday, April 1 assure that the broader campaign now underway. The same lobby that sought amendments to this Bill has also argued, in submissions to the Senate Adopting AI inquiry, that Australia’s copyright framework is a barrier to AI development and should be weakened accordingly, “in perfect step with the position of multinational technology companies.”
The message continues, “The Australian Government has reiterated many times that Australian AI development using other people’s content must be done in compliance with Australia’s current laws, which include licensing arrangements. That must be the case for so-called ‘non-commercial’ development and activities, as well as commercial. An exception would deny that payment to creators entirely.”
The joint statement signs off, “What we will not accept is the steady, incremental dismantling of the framework that makes Australian creative life possible.”
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.pngYveto2026-04-01 09:36:082026-04-01 09:36:08Australia’s Parliament Passes Copyright Bill That Unlocks Orphan Works
Songs, when they’re released into the world, tend to have a life all of their own. Tems’ “What You Need” is a solid example.
The Afrobeats star previewed it during an Instagram Live years ago, even declaring “this song is not coming out.” It did come out in November 2025, the standout track from the Nigerian singer, songwriter and producer’s third EP Love Is a Kingdom.
On Tuesday night, March 31, “What You Need” got its introduction to late owls with a performance on NBC’s The Tonight Show Starring Jimmy Fallon.
Tems owned the stage, sparkling with Hollywood glamor in a long silver-white dress, her a-class band performing behind a thin curtain.
Produced with her frequent collaborator GuiltyBeatz, “What You Need” is a stripped-down epilogue about a relationship not worth salvaging. On it, she sings: “Your love is not my lifeline, your love is not my home.”
Tems has played a pivotal role in ushering in the rise of Afrobeats in the United States. She contributed to the Black Panther: Wakanda Forever soundtrack, and has landed eight titles on the Billboard Hot 100, including a No. 1 for her contribution to Future’s 2022 hit “Wait For U,” also featuring Drake. Earlier, in 2020, Wizkid featured Tems on his summer anthem “Essence,” which hit the top 10 of the Billboard Hot 100 (partly due to a Justin Bieber remix), earning Tems her first Grammy Award nomination, for best global music performance.
She has piled up eight total Grammy nominations, for two wins: best African music performance with “Love Me JeJe” at the 67th Grammys, and best melodic rap performance of “Wait For U” at the 65th Grammys.
Tems has the kind of outlook the rest of us are in pursuit of. “Every day is something different, which is actually very exciting for me,” she told Billboard for her 2025 cover story. “I’m always like, ‘Hmm, I wonder how today is going to go. I wonder what’s going to happen.’” She settles into each day with a ritual. “In the mornings, I always do my self-care. I pray and declare that everything is going to be good and whatever comes my way, I’ll be fine.”
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.pngYveto2026-04-01 08:21:332026-04-01 08:21:33Tems Strips It Right Back For Late-Night Performance of ‘What You Need’: Watch
When Bruce Springsteen and the E Street Band opened their Land of Hopes and Dreams American Tour in Minneapolis on Tuesday (March 31), it was bound to be an emotionally charged night. Coming two months after ICE agents shot and killed two U.S. citizens in Minneapolis within the space of three weeks—which spurred Springsteen to write the protest anthem “Streets of Minneapolis”—and just days after St. Paul, Minnesota, played host to the country’s flagship No Kings Rally, Springsteen’s show contained multitudes. At times, it felt like a salute to the resistance, which has coalesced in the Twin Cities, and a rallying cry to keep the faith in the face of federal aggression and feckless leaders; in other moments, it felt somber, elegiac; and sometimes, it just felt like a damn fine rock concert by one of the art form’s finest practitioners.
Few rock stars have maintained a touring presence at Springsteen’s level of excellence, and no one else of his caliber has been as outspoken about the situation in Minnesota—though shoutout to Tom Morello (who was a special guest during numerous songs on opening night and will play throughout the tour) and Brandi Carlile for holding fundraiser concerts in Minneapolis earlier this year.
If the audience was in awe of the Rock & Roll Hall of Famer, the Boss seemed equally moved by th Minnesota audience for its ongoing activism. “This is a tour that was not planned,” he told the crowd. “We needed to feel your hope and strength.”
If you’re curious what Springsteen and the E Street Band’s opening night setlist for the Land of Hopes and Dreams Tour was, head here. Check out what locals think of Springsteen’s protest song and anti-ICE activism, click here. Otherwise, read on for the best moments from Springsteen’s tour opener in Minneapolis.
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.pngYveto2026-04-01 07:35:392026-04-01 07:35:39Bruce Springsteen’s Tour Kickoff in Minneapolis: Fiery Speeches, a Prince Cover & More Best Moments
Joe Dolce’s catchy ‘80s hit “Shaddap You Face” and Missy Higgins’s 2004 breakthrough “Scar” are among the four songs added to Australia’s vault, the National Film and Sound Archive (NFSA).
All told, nine works are added to the Sounds of Australia 2026 collection, a capsule that is said to span “the intimate, the everyday and the unforgettable.”
“Shaddap You Face” was an unexpected global smash following its release in 1980. Dolce performs the song in character, using exaggerated accent and stereotype, but that didn’t stop it from spreading like warm butter. The single logged three weeks at No. 1 in the U.K., and eight in Australia, where became the best-selling 7-inch of all time.
“More than four decades on, it remains a clear example of how performance-led comedy can travel far beyond its origins,” reads a statement from the NFSA.
Also entering the archive is Missy Higgins’ “Scar,” lifted from the Aussie singer and songwriter’s chart-topping, ARIA Award-winning debut album The Sound of White.
“Over time,” reads a statement from the NFSA, “it has come to represent a broader early-2000s shift toward piano-led, confessional pop in Australia.”
Today, Higgins is one of Australia’s most beloved, and awarded, artists. In 2024, she was inducted into the ARIA Hall of Fame.
Another member of the ARIA Hall of Fame, Marcia Hines, who was inducted in 2007, has a song preserved for generations to hear: the disco era “You.”
Released in 1977 and written by U.S. songwriter Tom Snow, “You” arrived at a time “when Australian pop was still defining its mainstream identity,” reads a statement from the NFSA, on its addition to the archive.
The joyful song “confirmed Hines as a major national artist and showed how vocal interpretation could shape the sound — and visibility — of Australian music.”
The Archive also ingests the title track from the ARIA Award-nominated 1990 album Tabaran, a recording by David Bridie’s Australian indie-rock band Not Drowning, Waving with musicians from Rabaul, Papua New Guinea, led by singer George Telek.
“Tabaran” remains “a key example of regional collaboration in Australian recording history, capturing language, musical practice and partnership across the Asia–Pacific,” a statement explains.
The Sounds of Australia collection takes in the “Slip! Slop! Slap!” TV advertisement published in 1981; the “Misogyny Speech” delivered by former prime minister Julia Gillard in 2012; and the impromptu “Democracy Manifest / Succulent Chinese Meal” speech given by the late Jack Karlson as he was arrested by police in 1991, a moment that has become one of Australia’s finest memes.
The sounds are selected by a panel of industry and NFSA experts, who consider public nominations of recordings that are more than 10 years old. After this year’s additions, the collection boasts over 200 pieces.
“We select sound recordings that have particular cultural, historic, or aesthetic significance — things that we think are particularly relevant to life in Australia,” explains NFSA assistant curator Hannah de Feyter. “One thing that we’re getting from the additions in this year’s capsule is the incredible variety of recorded sound that we have in our history.
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.pngYveto2026-04-01 06:40:382026-04-01 06:40:38Songs by Missy Higgins, Joe Dolce Added to Australia’s Film and Sound Archive
No musical artist at Bruce Springsteen’s level of commercial success, artistic endurance and renown has been as outspoken as he has when it comes to President Donald Trump’s ICE surge in Minnesota. During separate incidents in January, ICE agents shot and killed two U.S. citizens (Renée Good and Alex Pretti) in Minneapolis. Springsteen’s searing folk-rock protest anthem “Streets of Minneapolis” came out just days after Pretti’s killing at the hands of ICE agents. The Trump administration rushed to portray Good and Pretti as a domestic terrorists without providing evidence; eyewitness accounts and video footage from both killings seemed to tell a different story than the one spun by the federal government. “Their claim was self-defense, sir, just don’t believe your eyes,” sang Springsteen on the song. “It’s our blood and bones and these whistles and phones against [Stephen] Miller and [Kristi] Noem’s dirty lies.”
The 20-time Grammy winner gave “Streets of Minneapolis” its live debut at legendary local venue First Avenue during Tom Morello’s fundraiser for the families of Pretti and Good (a mother of three) on Jan. 30 and returned to it on March 28 at the flagship No Kings Rally in St. Paul, Minnesota, in front of the Minnesota State Capitol.
On Tuesday (March 31) night, Springsteen continued his advocacy for the Minnesota resistance by kicking off his Land of Hopes and Dreams American Tour at Minneapolis’ Target Center. An artist of his stature has more than his fair share of Billboard Hot 100 hits, radio standbys and iconic deep cuts to choose from for a setlist, but in the face of everything Minnesotans have faced in 2026, it seemed likely that the Boss’ opening night setlist would skew more political than usual—which it did, but it was also loaded with crowd-pleasing smashes and a few surprises.
Below, check out Bruce Springsteen and the E Street Band’s opening night setlist for the Land of Hopes and Dreams American Tour. And to see how locals feel about Springsteen’s protest anthem and advocacy, head here.
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.pngYveto2026-04-01 05:05:452026-04-01 05:05:45Bruce Springsteen Opens 2026 Tour in Minneapolis: Every Song He Played at the First Show
The flight crews who recently conducted a controversial flyby past Kid Rock’s Nashville home on the weekend won’t be reprimanded for their actions. No punishment, no investigation. Nothing to see here. Move along.
The U.S. Army launched an investigation Monday, March 30 when Rock shared a video to X of himself saluting two AH-64 Apaches hovering near his home. The questionable video went viral, not just for the cost to taxpayers and the optics, but for the timing: Kid Rock did his salute during what was the third No Kings protest against the Trump administration. One of those demonstrations was held in downtown Nashville.
The crews were briefly suspended, before being given the all-clear by United States secretary of war Pete Hegseth. In a post to X, Hegseth writes: “Thank you Kid Rock. US Army pilots suspension LIFTED. No punishment. No investigation. Carry on, patriots.”
Kid Rock (real name: Robert Ritchie) is a prominent supporter of Trump and the MAGA movement, and has maintained a close relationship with the president. Last year, he appeared at the White House as Trump signed an executive order targeting ticket scalping in the live entertainment industry.
In an earlier interview with Nashville’s WKRN News, the singer shrugged off the ongoing Army investigation of the aviators involved in the unauthorized flight, suggesting that the pilots have nothing to be worried about. “I think they’re going to be all right,” Rock said when asked about how he feels about the investigation. “My buddy is the Commander-in-Chief.”
In the interview with WKRN, Kid Rock referenced the demonstrations, saying that he thought being able to salute the helicopter pilots was “a great thing” when the No Kings protests were happening.
“There were people flipping them off,” he said, alleging protesters’ actions toward the helicopters. “I don’t care what your politics are … if you’re flipping our military off, you’re on the wrong side of things.”
Trump speak to reporters in the Oval Office on Tuesday evening, noting that crews “probably shouldn’t have been doing it. You’re not supposed to be playing games,” the BBC reports. “They like Kid Rock. I like Kid Rock,” he continued.
Hegseth comments now end the review by the Army’s 101st Airborne Division, referencing the “strict safety standards, professionalism and established flight regulations” that flight crews must adhere to.
“The Army takes any allegations of unauthorized or unsafe flight operations very seriously and is committed to enforcing standards and holding personnel accountable,” spokesman Maj Montrell Russell told the BBC in the earlier statement.
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.pngYveto2026-04-01 04:01:492026-04-01 04:01:49‘Carry on, Patriots’: Pete Hegseth Waves Off Suspension For Crew Who Conducted a Flyby For Kid Rock
Amyl And The Sniffers and Tame Impala spearhead Kevin Parker are once again in the hunt for APRA’s song of the year, the top honor at the annual APRA Music Awards. But they’ve got stiff competition from the likes of first-time shortlisters Keli Holiday and Ninajirachi, plus Paul Kelly with his nephew and first-time nominee Dan Kelly.
The peer-voted category and many others will be presented at the centenary edition of the 2026 APRA Music Awards, set for Wednesday, April 29 at Sydney’s Hordern Pavilion.
Amyl Taylor and Co. are nominated for “Jerkin’,” which is also shortlisted for most performed rock work. The punk rock outfit could go back-to-back, having won the 2025 title for “U Should Not Be Doing That,” lifted from their third album Cartoon Darkness.
Tame Impala’s Deadbeat single “Loser” is a red-hot chance, too. Should the psychedelic pop artist lift the donut-shaped trophy, the West Australian could boast a three-peat following wins in 2013 (for “Feels Like We Only Go Backwards”) and 2016 (“Let It Happen”).
Paul and Dan Kelly are nominated for “Rita Wrote A Letter”, the long-awaited follow up to “How to Make Gravy;” Keli Holiday, the solo project of Peking Duk’s Adam Hyde, is nominated alongside co-composers Alex Cameron and Konstantin Kersting, for the ARIA Award-winning hit “Dancing2;” and the EDM star Ninajirachi (real name: Nina Wilson) is in the frame for “iPod Touch”, co-written with Darcy Baylis.
The APRAs this year counts 52 first-time nominees, seven of whom are up for two awards. They are Alex Cameron (alongside Adam Hyde and Konstantin Kersting) for “Dancing2” (most performed alternative work and song of the year); Jessica Porfiri and Taka Perry for KATSEYE’s K-pop hit “Touch” and Ned Houston (alongside Guy Sebastian and Robby De Sa) for “Maybe” (both for most performed Australian work and most performed pop work); and Sam Cromack for Ball Park Music’s “Please Don’t Move to Melbourne” (most performed alternative work and most performed Australian work).
The recipient of the prestigious Ted Albert Award for Outstanding Services to Australian Music will be unveiled Tuesday, April 14. Winners of all categories including the international recognition award, OneMusic licensee of the year, most performed Australian work overseas and songwriter of the year will be revealed at the APRAs, which celebrate excellence in contemporary music, saluting songwriters and publishers who have achieved artistic excellence and outstanding success in their fields.
This year’s awards will be “the biggest yet,” a statement reads, with Julia Zemiro on presenting duties, alongside guest presenters Bernard Fanning, Jessica Mauboy, Mark Coles Smith and Stella Donnelly.
The ceremony is a pillar of APRA’s 100th anniversary celebrations, a year-long slate of activities which the PRO has described as the “most significant celebration of the contribution of songwriting and composition to Australia and New Zealand’s culture, identity and economy.” Those plans include the launch of a new “hall of fame-style” event in November, and a major anthology book will be published, spotlighting a century of music from these parts.
Formed by six music publishers a century ago in January, the Australasian Performing Right Association now represents over 128,000 music creators.
Title: Jerkin’ Artist: Amyl and The Sniffers Written by: Declan Mehrtens / Amy Taylor / Bryce Wilson
Title: Loser Artist: Tame Impala Written by: Kevin Parker Published by: Sony Music Publishing
Title: Rita Wrote A Letter Artist: Paul Kelly Written by: Paul Kelly / Dan Kelly Published by: Sony Music Publishing
Emerging Songwriter of the Year
Writer:BARKAA
Published by: Sony Music Publishing
Writer:Emily Wurramara Publisher: Mushroom Music Publishing Writer: Heide Peverelle, Jeanie Pilkington & Grace Sinclair (Folk Bitch Trio) Published by: Kobalt Music Publishing
Writer: Nick Ward Published by: Sony Music Publishing
Writer: Nina Wilson (Ninajirachi) Published by: Sony Music Publishing
Most Performed Australian Work
Title: Maybe Artist: Guy Sebastian Written by: Guy Sebastian / Robby De Sa* / Ned Houston* Published by: Universal Music Publishing / Sony Music Publishing*
Title: Please Don’t Move to Melbourne Artist: Ball Park Music Written by: Sam Cromack Published by: Sony Music Publishing
Title: stay a little longer Artist: ROSÉ Written by: Sarah Aarons / Andrew Wells / Chae Park* Published by: Sony Music Publishing / Warner Chappell Music*
Title: Tell Me Artist: Sonny Fodera & Clementine Douglas Written by: Stuart Crichton / Sonny Fodera* / Clementine Douglas^ / Ruth Cunningham^ Published by: Concord Music Publishing ANZ / BMG* / Mushroom Music Publishing^
Title: Touch Artist: KATSEYE Written by: Taka Perry / Jessica Porfiri* / Caroline Ailin^ / Omer Fedi+ / Magnus Hoiberg~ / Blake Slatkin+ Published by: Concord Music Publishing ANZ / Gaga Music* / Sony Music Publishing^ / Universal/MCA Music Publishing+ / Warner Chappell Music~
Most Performed Alternative Work
Title: All the Noise Artist: Spacey Jane Written by: Ashton Hardman-Le Cornu / Caleb Harper / Kieran Lama / Peppa Lane Published by: Kobalt Music Publishing obo Dew Process
Title: car Artist: Royel Otis Written by: Otis Pavlovic / Royel Maddell / Omar Fedi* / Blake Slatkin* Published by: Kobalt Music Publishing obo Ourness Songs / Universal/MCA Music Publishing*
Title: Dancing2 Artist: Keli Holiday Written by: Adam Hyde / Alex Cameron* / Konstantin Kersting^ Published by: BMG / Sony Music Publishing* / Payday Music Publishing^
Title: Hideaway Artist: Mallrat Written by: Grace Shaw / Styalz Fuego* / Gab Strum^
Published by: Kobalt Music Publishing obo Dew Process / Universal Music Publishing* / Concord Music Publishing ANZ^
Title: Please Don’t Move to Melbourne Artist: Ball Park Music Written by: Sam Cromack Published by: Sony Music Publishing
Most Performed Blues & Roots Work
Title: I’m Yours Artist: Karen Lee Andrews Written by: Karen Lee Andrews
Title: Let It Rain Artist: Dallas Frasca Written by: Dallas Frasca / Paul Wood
Title: Straight Into The Sun Artist: The Cruel Sea Written by: Tex Perkins* / Daniel Atkins* / Kristyna Higgins Published by: Universal Music Publishing*
Title: Survival Artist: Karen Lee Andrews Written by: Daniel March / Adam Ventoura
Most Performed Country Work
Title: BUY THAT GIRL A BEER Artist: Casey Barnes Written by: Casey Barnes* / Andy Skib^ / James Thow Published by: Mushroom Music Publishing* / Warner Chappell Music^
Title: Dirty Money Artist: Travis Collins Written by: Travis Collins* / Jason Duke^ / Christopher Yurchuck Published by: Universal Music Publishing* / Downtown Music^
Title: I’m A Boxer Artist: Brad Cox Written by: Brad Cox / Alexander Burnett* Published by: Sony Music Publishing / Origin Music Publishing*
Title: TROUBLE Artist: Tori Darke & Jay Santilli Written by: Victoria Darke* / Jessica Santilli / Michael De Lorenzis^ / Michael Paynter^ Published by: Sentric Music Publishing obo Digital Music Publishing* / Mushroom Music Publishing^
Title: Who You Are Artist: Rachael Fahim Written by: Rachael Fahim / Shawn Mayer / Liam Quinn / Vlado Saric / Keenan Te* Published by: Sentric Music Publishing obo Acts Music Publishing*
Most Performed Dance/Electronic Work
Title: Break My Love Artist: RÜFÜS DU SOL Written by: Jonathon George / James Hunt / Tyrone Lindqvist Published by: Kobalt Music Publishing
Title: CAVE Artist: Dom Dolla & Tove Lo Written by: Dominic Matheson / Tove Lo* Published by: Sony Music Publishing / Warner Chappell Music*
Title: Focus Artist: John Summit feat. CLOVES Written by: Kaity Dunstan / Abraham Dertner* / Frederik Geuze^ / Neil Ormandy / John Schuster+ Published by: Payday Music Publishing & Silo: Music / Kobalt Music Publishing* / Sony Music Publishing^ / Warner Chappell Music+
Title: Beautiful People Artist: David Guetta & Sia Written by: Sia Furler / David Guetta* / Mikkel Eriksen / Tor Hermansen / Timofey Reznikov* Published by: Sony Music Publishing / Peermusic*
Title: Tell Me Artist: Sonny Fodera & Clementine Douglas Written by: Stuart Crichton / Sonny Fodera* / Clementine Douglas^ / Ruth Cunningham^ Published by: Concord Music Publishing ANZ / BMG* / Mushroom Music Publishing^
Most Performed Hard Rock/Heavy Metal Work
Title: All That I Remember Artist: The Amity Affliction Written by: Joel Birch* / Daniel Brown* / Joseph Longobardi / Jonathan Reeves Published by: Concord Music Publishing ANZ*
Title: nerv Artist: Thornhill Written by: Jacob Charlton* / Benjamin Maida* / Ethan McCann* / Nicholas Sjogren* / Samuel Bassal Published by: Concord Music Publishing ANZ*
Title: RAINDROP Artist: Ocean Grove Written by: Samuel Bassal* / Brent Hunter* / Luke Holmes Published by: BMG*
Title: Sacred Artist: Parkway Drive Written by: Benjamin Gordon / Luke Kilpatrick / Jeffrey Ling / Winston McCall / Zachary Cervini* / Jordan Fish* Published by: Kobalt Music Publishing / BMG*
Title: Tether Artist: Make Them Suffer Written by: Sean Harmanis / Jordan Mather / Nicholas McLernon Published by: Sentric Music Publishing obo Cooking Vinyl Publishing
Most Performed Hip Hop / Rap Work
Title: The Gift Artist: Hilltop Hoods feat. Marlon Written by: Matthew Lambert (Suffa)* / Daniel Smith (MC Pressure)* / Andrew Burford / Jim Ford^ Published by: Sony Music Publishing* / Warner Chappell Music^
Title: Party On The Moon Artist: Bliss n Eso Written by: Max Mackinnon / Jonathan Notley / Keith Elam* / Chris Martin^ Published by: Mushroom Music Publishing / Mushroom Music Publishing & Sony Music Publishing*/ Kobalt Music Publishing & Sony Music Publishing^
Title: Spinnin’ Artist: ONEFOUR & Nemzzz Written by: Jerone Misa* / Salec Su’a* / Hoi Tang / Nemiah Simms* / Robin Turrini Published by: Sony Music Publishing*
Title: The Trap Artist: Rops1 Written by: Tristan Dunphy* / Elijah Wilson Published by: Mushroom Music Publishing*
Title: Who’s Back Artist: Skux Written by: Aayan Ahmed / Logan Cudarans
Most Performed Pop Work
Title: I Can Die Now Artist: Ruel Written by: Ruel Van Dijk / Julian Bunetta* / Joshua Coleman^/ Edward Drewett+ / Jacob Hindlin^ / Steven Schick* Published by: Universal Music Publishing / Sony Music Publishing* / Kobalt Music Publishing^ / Warner Chappell Music+
Title: Maybe Artist: Guy Sebastian Written by: Guy Sebastian / Robby De Sa* / Ned Houston* Published by: Universal Music Publishing / Sony Music Publishing^
Title: Press Pause Artist: Kita Alexander Written by: Nikkita Wright / Annie Schindel / Kyle Shearer* Published by: Kobalt Music Publishing / Concord Music Publishing ANZ*
Title: stay a little longer Artist: ROSÉ Written by: Sarah Aarons / Andrew Wells / Chae Park* Published by: Sony Music Publishing / Warner Chappell Music*
Title: Touch Artist: KATSEYE Written by: Taka Perry / Jessica Porfiri* / Caroline Ailin^ / Omer Fedi+ / Magnus Hoiberg~ / Blake Slatkin+ Published by: Concord Music Publishing ANZ / Gaga Music* / Sony Music Publishing^ / Universal/MCA Music Publishing+ / Warner Chappell Music~
Most Performed R&B / Soul Work
Title: Cardio Artist: Larissa Lambert Written by: Larissa Lambert / Khaled Rohaim* / John Jackson^ / Cynthia Loving+ / Avital Margulies / Andre Robertson / Justin Smith+ / Chelsea Unger#
Published by: Universal/MCA Music Publishing* / Sony Music Publishing^ / Mushroom Music Publishing+ / Kobalt Music Publishing#
Title: Julia Artist: Don West Written by: Don West* / Nathan Hawes^ / William Endicott / Zac Olsen / Jacob Parks Published by: Kobalt Music Publishing* / Sony Music Publishing^
Title: Lil’ Obsession Artist: BOY SODA Written by: Brae Luafalealo* / Nikodimos Nick Millman Paleologoudias / Finbar Stuart Published by: Sony Music Publishing*
Title: Pity Party Artist: PANIA Written by: Pania Hika / Jake Amy / Chelsea Warner / Sam Verghese
Title: Vetted Artist: Lithe Written by: Josiah Ramel* / Omid Khasrawy Published by: Concord Music Publishing ANZ obo Boss Level*
Most Performed Rock Work
Title: Defiant Artist: Jimmy Barnes Written by: Jimmy Barnes* / Michael Paynter^ / Ben Rodgers Published by: Sony Music Publishing* / Mushroom Music Publishing^
Title: Everyone Will See It Artist: Old Mervs Written by: Henry Carrington-Jones / Chris Collins* / David House Published by: Sony Music Publishing*
Title: Jerkin’ Artist: Amyl and The Sniffers Written by: Declan Mehrtens / Amy Taylor / Bryce Wilson
Title: Southerly Artist: King Stingray Written by: Theo Dimathaya Burarrwanga / Cameron Yimila Burarrwanga / Roy Kellaway* / Campbell Messer / Lewis Stiles / Yirrŋa Gotjiringu Yunupingu* Published by: Sony Music Publishing*
Title: Tangerine Artist: Ocean Alley Written by: Nic Blom / Baden Donegal / Lach Galbraith / Mitch Galbraith / Angus Goodwin / Tom O’Brien Published by: Warner Chappell Music
Most Performed International Work
Title: APT. Artist: Bruno Mars and ROSÉ Written by: Bruno Mars / Amy Allen / Christopher Brown / Roget Chahayed* / Michael Chapman^ / Nicholas Chinn^ / Omer Fedi+ / Philip Lawrence / Chae Park / Theron Thomas~ / Henry Walter+ Published by: Warner Chappell Music / Kobalt Music Publishing* / Universal Music Publishing/MGB^ / Universal/MCA Music Publishing+ / Sony Music Publishing~
Title: DENIAL IS A RIVER Artist: Doechii Written by: Doechii* / James Anderson^ / Dante Franklin+ / Spencer Golanka / Serban Sirbu~ / Joseph Thompson# Published by: Universal/MCA Music Publishing* / Sony Music Publishing^ / Kobalt Music Publishing+ / Payday Music Publishing~ / Jungle Habitat Music#
Title: Squabble Up Artist: Kendrick Lamar Written by: Kendrick Lamar / Ruchaun Akers Jr / Jack Antonoff / Matthew Bernard* / Tony Butler* / Mark Spears* Published by: Universal/MCA Music Publishing / Sony Music Publishing*
Title: That’s So True
Artist: Gracie Abrams Written by: Gracie Abrams / Audrey Hobert Published by: Universal/MCA Music Publishing
Title: Timeless Artist: The Weeknd & Playboi Carti Written by: Abel Tesfaye* / Jordan Carter^ / Raul Cubina+ / Mike Dean^ / Evan Hood^ / Jarrod Morgan^ / Chisolm Petty+ / Tariq Sharrieff+ / Mark Williams~ / Pharrell Williams^ Published by: Universal/MCA Music Publishing* / Sony Music Publishing^ / Kobalt Music Publishing+ / Warner Chappell Music~
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.pngYveto2026-04-01 03:00:302026-04-01 03:00:302026 APRA Music Awards Nominations: Full List
