The light is still shining on Ariana Grande‘s album Eternal Sunshine two years later, with the Recording Industry Association of America unveiling a platter of new certifications for the project on Sunday (March 8).

As unveiled on the second anniversary of the pop star’s Billboard 200-topping seventh studio album, Eternal Sunshine has been certified double Platinum — meaning it’s sold 2 million equivalent units since it dropped in 2024. Two of the project’s singles, “Yes, And?” and “We Can’t Be Friends (Wait for Your Love)” — both of which topped the Billboard Hot 100 — also earned new accolades, with the former going double Platinum and the latter going quadruple Platinum.

Also from Eternal Sunshine, “Intro (End of the World)” and “Supernatural” received their Platinum certifications from the RIAA on Sunday as well.

Grande’s most recent LP first went Platinum in September 2024, just a few months after it first dropped. Two years later, the Grammy winner is joining her fans in celebrating the album’s second birthday, writing on Instagram recently, “happy two years of eternal sunshine. my favorite project yet. thank you for your love, i love you endlessly…”

She’s now gearing up to finally embark on a tour in support of the album, kicking off in June and wrapping in August with shows in Los Angeles, New York City, London and more. After it concludes, Grande will likely step away from performing live for the indefinite future, as the Wicked actress has previously called the trek her “last hurrah … for now.”

“I feel very privileged and grateful to learn that there can be room for different creative endeavors … The last 10 or 15 years will look very different to the ones that are coming up,” she told Amy Poehler in November. “I do know that I’m very excited to do this small tour, but I think it might not happen again for a long, long, long, long time. So I’m going to give it my all.”

Like a number of their American and U.K. contemporaries, Scottish rockers Franz Ferdinand are not happy about their music being used to promote the current Israeli/U.S. war against Iran. Specifically, the group lashed out over the weekend when their 2004 Billboard Hot 100 No. 66 hit, “Take Me Out,” was featured in a video posted by the Israeli Defense Forces, saying it was used without their consent.

According to Rolling Stone, in a since-expired Instagram Story, lead singer Alex Kapranos shared the IDF video, which features footage of fighter jets and explosions amid images of an Israeli soldier celebrating the country’s recent attacks on Iran amid footage of fighter jets taking off and dropping bombs, with the caption: “Operation Roaring Lion — this is how it’s done.”

In reaction, a furious Kapranos reportedly replied, “these warmongering murderers are using our music without our consent. This makes us both nauseous and furious. Kind of typical though, isn’t it? To strut up and take what isn’t theirs with a vile arrogance…” At press time a spokesperson for Franz Ferdinand had not returned Billboard‘s request for comment on this story.

The U.S. and Israel launched a joint attack on Iran on Feb. 28, which Donald Trump called Operation Epic Fury and Israeli Prime Minister Benjamin Netanyahu referred to as Operation Roaring Lion. Iran has since retaliated with missile and drone strikes against Israel and U.S. bases and allies in the region, including Azerbaijan, Bahrain, Iraq, Jordan, Kuwait, Oman, Quatar, Saudi Arabia and the United Arab Emirates.

With muddled, ever-changing explanations from Trump and U.S. officials about the reasons for the war — citing everything from an alleged imminent threat to the U.S., to a mission to destroy Iran’s military and alleged nuclear weapon stocks to regime change — the war has quickly sparked fears of a potentially sprawling, global conflict, as well as economic panic over rapidly spiking oil prices.

Franz Ferdinand’s Kapranos is just the latest musician to take issue with an official state video using their music without sanction. In tearing a page from his good friend Trump’s frequent unauthorized use of popular music to promote his political agenda, Netanyahu’s government is sparking a similarly outraged response in using popular music to hype the war that has once again sent his country’s citizens running to bomb shelters just months after a shaky peace agreement with militant group Hamas.

Last month, Radiohead were incensed when the U.S.’s Immigration and Customs Enforcement agency posted a video on the agency’s X account on Feb. 18 cued to the group’s 1997 OK Computer track “Let Down” featuring images of Americans and the caption, “American citizens raped and murdered by those who have no right to be in our country. This is who we fight for. This is our why.”

Radiohead responded in a statement to Billboard that read, ““We demand that the amateurs in control of the ICE social media account take it down. It ain’t funny, this song means a lot to us and other people, and you don’t get to appropriate it without a fight. Also, go f–k yourselves.”

The Trump administration also drew the ire of Kesha, who lashed out at Trump recently for what she called the unauthorized use of her song “Blow” in a White House TikTok video. In an Instagram Story posted on March 2, she accused the administration of using her song to “incite violence and threaten war,” adding that she does not approve of her music “being used to promote violence of any kind” and that this is “the opposite of what I stand for.”

The IDF appears to be doubling-down on using music in their promotional videos as well, including one posted on Sunday (March 8) touting its reported successes striking Iranian targets cued to the 1993 Los Del Rio Billboard Hot 100 No. 1 smash “Macarena.” An earlier video from Friday (March 6) used a reference to the workout tracking app Strava and a snippet of the 2002 Coi Leray single “Players” to promote Israeli bombing sorties on Iran. At press time, spokespeople for Leray and the IDF had not returned Billboard‘s request for comment.

Over the past 30 years, few ­executives have done more to promote and champion Black British music talent than Kanya King. While names like Stormzy, Central Cee, Little Simz and Dave have risen to arena and festival headliner status, King — the co-founder and chief executive of the MOBO (Music of Black Origin) Awards — has been plugging away to create new pathways for artists.

In its earliest days, the MOBOs was just “fighting to be acknowledged,” she tells Billboard. Now? Black music and British acts are at the “absolute center of global culture,” says King, who received a CBE (Commander of the Order of the British Empire) on the 2018 Queen’s Birthday Honours list for her services to music and culture. (She had previously received an MBE — Member of the British Empire — in 1999.)

The MOBOs ceremony, first held in November 1996, was the first in Europe to celebrate Black music and has become a staple of the awards season calendar. Performers over the years include Rihanna (2006), Lauryn Hill (2005), Sade (2000) and Destiny’s Child (1999).

This year’s ceremony, taking place at Co-op Live in Manchester, England, on March 26, is poised to be similarly star-studded. Grammy Award winner Olivia Dean will perform alongside Tiwa Savage and FLO; the former leads nominees this year with four nods. Beyond general categories, specific genre-led fields celebrate local genres such as grime (a U.K.-specific fusion of rap and garage) as well as global sounds including hip-hop, R&B and jazz.

This is, King says, just a small piece of what is set to be a yearlong celebration of the MOBOs organization. The event itself will be broadcast on Amazon Music U.K.’s Twitch channel for the first time and follows a partnership with popular pub chain Greene King to open the House of MOBOs, a community hub in south London. A documentary will follow, alongside a new book by King and an exhibition.

With the 2026 ceremony approaching, King discussed the challenges she overcame to set up the iconic night, how the industry responded and why the outlook for Black musicians and executives has changed dramatically during her time in the industry.

How do you feel about the MOBOs reaching its 30th anniversary?

Thirty years isn’t just a milestone but a testament to endurance and the imagination and power to shape Black culture far beyond the U.K. When I started the MOBO Awards, there was no real infrastructure or clear pathways for Black music here. Institutional recognition was virtually nonexistent. To be standing here three decades later, still influential, still evolving and still driving the conversation feels deeply emotional and incredibly affirming. It reinforces the importance of our original mission and the incredible work the team and our communities have done.

What special plans are in place to mark the 30th anniversary?

We have a whole year of activity planned for the MOBOs’ 30th year. The most exciting new development is the opening of the House of MOBOs. We wanted to mark the anniversary by creating a physical space that is deeply rooted in, and actively celebrates, the communities that have shaped the MOBOs. It’s essentially a cultural hub — a bit like a members club but without the fee — where people can come together to celebrate, collaborate and build.

Huge names such as Destiny’s Child and Rihanna have performed at the MOBOs over the years. What do you look for when booking the lineup for the show?

We’re looking for someone who is going to be creative and collaborative but also represent that broad genre base. For example, this year we’ve got the 25th anniversary of grime music, so we’re honoring that with a special medley. That’s a genre that MOBOs have supported since the start, way before many mainstream establishments. Similarly, we’ve championed African music since our inception and then introduced an African music category in 2005. We just like to get the breadth of all the genres, and I feel like with the lineup thus far, this year is going to be a real momentous year for performances.

The MOBO brand has become so much more than just one night. Why was that important to you?

We’ve always felt that we’ve had social consciousness and responsibility as well as the music and awards platform. We’ve been that launchpad and cultural amplifier. We’ve helped artists move from underground to mainstream and from local to global. We’ve validated some of the genres that were sometimes often dismissed. Whether that was early U.K. R&B, garage and grime to Afrobeats. In many cases, the MOBOs gave artists their first national platform at a time when others wouldn’t.

For 2026, it’s not about nostalgia alone. It’s fundamentally about legacy. We are celebrating what we have built and honoring the pioneers who made it possible, but just as importantly, we are spotlighting the new generation who are carrying the battle and the culture forward. The focus is on shaping what comes next with intention, ensuring that the brand continues to evolve.

What do you remember about pulling together the first ceremony in 1996?

That we had an incredibly short amount of time. When Carlton Television and the ITV Network gave us the broadcast slot, they essentially said, “We have good news and bad news. Good news: We’re giving you the slot. Bad news: We have very little budget and you have six weeks.”

But when you get an opportunity like that, you just have to grab it. I put everything on the line; there was no plan B. I had been talking about this for so long that I was sick of my own voice and knew I had to put my money where my mouth was. I remortgaged my home and resolved that it had to work.

What stands out most is when [then-future U.K. Prime Minister] Tony Blair turned up. His team initially said he couldn’t make it, but I’d kept them updated with news such as Lionel Richie confirming to attend. Two days before, they changed plans to make sure they were at the event. There’s a fine line between being a pain and being persuasive, and I feel like I judged it quite well.

I also vividly remember my late mother, who always wanted me to be a teacher, jumping the queue to meet Tony when he arrived to tell him what an amazing, hardworking daughter she had. I think she was trying to get me a “proper job.” It wasn’t until I received the MBE in 1999 that she truly believed things would be OK.

Did you feel the wider industry was supportive of the MOBOs back then?

The climate was completely different. There were outliers who went out on a limb to help us, but Black music was broadly seen as too risky. I was constantly told, “Why are you wasting your time? Black music doesn’t sell. The media will never get behind it. These events never start on time, they’re disorganized.” I heard it all, again and again. However, the talent was a completely different story — they were crying out for this platform.

How has the landscape changed for Black artists and executives?

The most profound change is that Black music has moved from the margins to the absolute center of global culture. In the early days, we were just fighting to be acknowledged. Today, the genres that the MOBOs champion dominate charts, streaming platforms, fashion and digital culture worldwide. This is an extraordinary transformation.

Artistically, the confidence of U.K. talent has evolved hugely. There is far less imitation, much more originality, and artists are deeply rooted in their identity, showcasing their cities and heritage. African music, in particular, is an unstoppable force. Production values are higher, storytelling is stronger and the genre-blending is so much more adventurous. I also love hearing so many local accents in music and not feeling like they have to change for the industry.

In 2009, the MOBOs were also one of the first major U.K. awards ceremonies to take the show outside of London, a move now adopted by the BRIT Awards and Mercury Prize.

I remember the complete uproar from the industry when we first mentioned taking it out of London. People said, “Good luck with that; it’s never going to work.” They were so used to the same central London venues. We went to less obvious places, but we could see the deep love for music in those cities. We’ve been to [English cities] Leeds, Coventry and Sheffield, and it’s wonderful to see the cultural imprint we’ve left. People in Liverpool, for instance, have told me that the resurgence of its Black music scene has been a direct result of the MOBO Awards being hosted there [in 2010 and 2012]. I have always tried to use the MOBOs platform for a wider impact and purpose, and traveling has enabled us to make a significant economic, cultural and social impact in those regions.

How has your own leadership style evolved over the years?

I’ve grown from a determined founder, operating largely on sheer drive, into a more reflective, strategic and resilient leader. In the early years, leadership meant resistance and pushing back against structures that simply didn’t value Black culture. Over time, it’s evolved into creating sustainable pathways for the next generation. I’ve learned to collaborate more deeply, to trust my instincts but also to listen very carefully to the talent and the communities we serve. Mentorship has also become central to my leadership, because legacy isn’t just about what you build, it’s about who you empower.

What does the future hold for the MOBOs?

The next chapter for the MOBOs is about deeper impact, broader reach and building more meaningful cultural infrastructure, not just bigger stages. You will see more citywide cultural programming through the MOBOs Fringe Festival, stronger links with schools and expanded creative pathways through Mobolise. The House of MOBOs will continue to be a vital hub for communities and partners to connect, collaborate and create. The main show will be livestreamed with Amazon Music, making it available to a wider audience. It just reflects how much the MOBOs has grown and how our partnerships now mirror our global ambition.

This story appears in the March 7, 2026, issue of Billboard.

Nearly five years after the consequential death of George Floyd, one of several minority-supporting initiatives is approaching its anniversary, too.

Equal Access, established by marketing/artist development company mtheory in 2001, typically has two full time employees devoted to advancing the careers of under-represented constituencies among artists and managers in Nashville’s music community. That represents a hefty investment for an initiative that doesn’t generate income for a relatively small firm, but it’s become an essential, almost altruistic, piece of mtheory’s identity.

“We’re a weird company in the music industry in a lot of ways,” says CEO Cameo Carlson. “You walk in the door of any of our offices, and the first thing you’re going to see are our core values printed on the wall. So the piece that maybe isn’t altruistic is it does serve our core values.”

The company may see itself as “weird,” but it’s hardly alone in Nashville. Black River, PERK PR, lighting company CLLD and music headhunting operation Turnkey ZRG have all developed programs that provide education series for music professionals at no cost.

“It is very unusual for a for-profit company to do anything for free,” notes Turnkey ZRG music & entertainment managing director Tom Truitt, “because everyone’s always looking at the bottom line.”

Philanthropic exercises are a more natural fit for non-profits or trade organizations such as the Country Music Association, the National Music Publishers Association or Country Radio Seminar.

The Nashville area, however, features more than 20 colleges, universities and technical schools, including two — Belmont University and Murfreesboro’s Middle Tennessee State University — that offer music business degrees. With that much professorial talent in the industry’s midst, it makes sense that the teaching spirit is strong in certain circles. That was the case for CLLD owner Chris Lisle, who held a Belmont faculty position when he decided to launch an intense seminar in 2011 focused on concert vocations, the Touring Career Workshop.

“Seeing the impact that being an adjunct instructor was having on some students, watching those students get it and want to engage the industry — and [seeing] some of them go and thrive — definitely motivated me to kind of lead the next generation,” Lisle reflects.

The turnout was higher than he expected that first year, as was the hunger for knowledge and networking opportunities, and the event that he tentatively viewed as a one-off experience was converted to a non-profit, distinctly separate from CLDD. The event has since been renamed ECCHO Live as Lisle continues to pay it forward through the non-profit.

“Growing up, there was no classes or school to go learn how to be a touring lighting director,” Lisle says. “I had mentors that took me under their wing and taught me the do’s and don’ts. My career has been guided by a string of people that just mentored [me], and so mentoring has always been important to me.”

The landscape of freebie offerings varies:

• ECCHO Live celebrates its 15th anniversary this year with three part-time staff, still holding the fall workshops, but also providing All Access, a free counseling service that supplies up to four sessions per year. The program is expanding to financial and physical wellness therapy.

• Black River recently presented the first in a series of Sessions on the Deck, a dinner for about 20 new and developing talents who experience a panel discussion at the label’s headquarters featuring several established pros.

• PERK PR’s quarterly panels typically draw 45-75 attendees for a 30-minute panel and post-event networking function at the Ampersand Studios workspace on 16th Avenue.

• The mtheory Equal Access classes guide a handful of enrollees culled from minority demographics — including women, Blacks, Latinos and LGBTQ+ individuals, among others — through a full year of development and professional introductions.

• Turnkey ZRG’s The Smartest People in the Room uses a periodic webinar series to pair two people for a Q&A with Truitt interjecting audience questions from Zoom’s chat function.

The Smartest People series was originally a for-profit, in-person presentation — “Think TED Talks for the music business,” Truitt says — but it went away when the pandemic arrived. Truitt pivoted to a streamed experience and, by attracting 800 viewers for the first episode, realized he could reach a larger audience with less financial risk and fewer logistical challenges. He archives them all on YouTube, and by keeping it free, he is able to run it while investing less than 5% of his work week. Viewers are unlikely to leave disappointed, since their financial investment is merely the cost of an hour of electricity for their device.

“When you take people’s money for something, they expect something grand in return,” Truitt says. “I don’t have the time or the bandwidth to turn The Smartest People in the Room into something grand. It’s very organic.”

PERK PR owner Trevor Perkins holds his series in person, mindful of his own early days in Nashville when he found some Music Row gatherings a tad daunting. His goal is to make it an easy space to network while providing a forum for others to share their ideals and business models. The most recent installment focused on the unique branding of Cowboy Cannolis, a mobile dessert bar that is gaining traction in Nashville.

“Empowering others empowers yourself,” Perkins philosophizes. “Creating these panels, I really just wanted to be an asset to help the next generation, and the current generation, to be able to really just flourish in their careers and get quality education on current topics to use in their everyday life.”

He has inserted one of his clients into a panel, providing a tangible benefit to the business, though he’s also careful that the panelists be chosen for their expertise, not for their attachment to PERK.

“I see it as an extension [of my business],” he says. “I feel like the value of helping others that this panel series offers is the same value that I offer within the company.”

Helping was at the heart of the Equal Access initiative. In the wake of the George Floyd murder, the industry held a Blackout Tuesday to acknowledge the continued issues around civil rights. The mtheory staff’s brainstorming that day led to the program, which was well-received by Music Row execs who recognized constituencies that are not well represented in country.

They have invested more than $500,000 in the program, helped release 80 songs and assisted six Grand Ole Opry debuts, though the cultural climate has created hurdles.

“It’s been a very marked change with the political changes in this administration,” Carlson says. “Programs like this that a lot of companies were working on got smaller, or got defunded, or went away entirely. And there are even fewer resources and teams around these artists who need [financing] to self-promote and do all of these things.”

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While the executives are devoted to their non-profit campaigns, they still have for-profit companies to keep afloat. In some cases — particularly for Carlson and Lisle — balancing those concerns has been taxing. But the knowledge that they’re making a difference continues to motivate them.

The ECCHO Live workshop and All Access program are “going to be my legacy,” Lisle predicts. “It’s what I want to leave the industry.”