Guy Oldaker has spent years establishing Illenium in Las Vegas — ever since the UTA agent recognized, in 2014, that the bass producer was the ideal artist to bring the genre to a club landscape where it had historically failed to gain traction.

“I went, ‘Holy crap, this is exactly what I think will work with this audience in Vegas,’ ” Oldaker told Billboard in 2024. “I know very well how to build an artist in the scene where I’ve built everything else. I knew if I could connect the dots, we’d have a winner.”

In a city built on gambling, Oldaker couldn’t have known how big this win would be. The agent has not only nabbed myriad club residencies for the Colorado-based artist (Nick Miller) on the Vegas Strip over the years; in 2021, he booked him at the city’s Allegiant Stadium for what became the venue’s first concert.

While that show was big, Oldaker and the team would ultimately go even bigger with Illenium’s current Sphere residency, which launched at the technologically cutting-edge venue last weekend and continues March 12-14 through April 2-4. With both the show and the LP called Odyssey, the run marks the first time an artist has created an album specifically for a Sphere residency. That’s enough for Oldaker to earn the title of Billboard‘s Executive of the Week.

Here, Oldaker talks about embarking on the sojourn to Sphere.

In 2023 you talked to Billboard about how Illenium was the perfect bass crossover artist to work for Vegas clubs, where you’ve booked him many residencies before he went on to play “Trilogy” at Allegiant Stadium in 2021. To what extent did his long history in the city help you and the team secure the Sphere residency?

We’ve spent a significant amount of time developing Illenium’s career and fanbase in Vegas through various club residencies, festivals, appearances (EDC and Life Is Beautiful, etc.) and debuting our “Trilogy” event at Allegiant Stadium for their grand opening, one of the first shows to happen after the COVID lockdown. Our team recognizes Las Vegas as one of the world’s preeminent markets for dance music, and we’ve been lucky to have incredible local and national touring partners who have supported & championed us. All of these factors and more helped us get on the radar of the Sphere team.


What were the initial conversations about getting Illenium in the venue? Is it a competitive venue to get into? How did you get the deal over the finish line?

Initial conversations began years ago after the “Trilogy” show at Allegiant, when one of our local partners asked if we’d like to see a “cool new venue being developed.” Once we got a taste, the wheels started turning. Sphere is a very unique and special venue. It’s not a room that an artist can “just show up and play.” In order to maximize the capabilities of the room and for the show to be meaningful and impactful for the audience, the artist and their team need to have a very specific vision for what they want to have fans experience.

Nick very quickly put together a concept and plan for what he wanted to do at Sphere, and through many conversations and presentations with Sphere’s team, we found we were aligned on how to create a first-of-its-kind and unique experience for fans, not only his amazing show, but also the incredible venue that Sphere is. 

Anyma was of course the first electronic artist to do a Sphere residency. Assuming you saw that show? What did it do in terms of bar setting? Was there a sense of having to match or beat that residency given that it was also electronic?

Unfortunately, I was unable to attend an Anyma show due to schedule conflicts, but I was able to attend multiple Dead & Company shows as well as Backstreet Boys. All of the acts that performed at Sphere prior to us, including Anyma, set the bar very high for anyone who wants to play the room. Our team went into creating this show wanting to build and expand upon all of the amazing things everyone before us was able to accomplish in the room and find ways to tap into parts of the facility that had not been used yet and to bring things in that have never been done before, like pyro and other special experiences I don’t want to spoil. You’ll have to see a show! 


Other artists’ teams have said that there’s a pretty steep learning curve with Sphere, given all that it can do. How did you guys learn how to “use” the venue, and how long did that take? What were the biggest challenges? 

Our team spent a lot of time working with Sphere at the venue and their practice facility, as well as building a lot of the show in VR. It was a very unique and cool experience, and one I’ve never seen happen in this way before. We’re still learning and making little changes to the show every day, even after the residency’s start. The possibilities of what you can do in Sphere are seemingly endless, and it’s such a fun and cool experience watching the team learning and developing technologies and new experiences in real time.

Who is the core Illenium audience, and are you finding that Odyssey is drawing crowds beyond that audience, given how interested people are in the venue? In other words, how does this show widen the Illenium audience?

We’ve certainly seen a lot of people attending Odyssey that are not “core fans.” It’s exciting to see, and even more heartwarming to see many of them having emotional experiences and then buying jerseys [Illenium’s signature merch item.] Seeing all of the jerseys and merch being repped across all the hotels has been a very special experience. It’s only up from here, and we want everyone to be able to enjoy and see this incredible show!

How did you and the team celebrate after the three opening nights?

Everyone had a good hang backstage, hugs, high-fives and lots of water! We all celebrated an amazing first weekend, but we have more to go! Ask us after we get through them all!

Is there anything else you’d like to say?

I’m grateful to be continually surrounded by great people doing great things. There’s nothing more special than seeing your team’s vision come together in such an incredible way. Can’t wait to see what else these amazing folks continue to do! 

Global recorded music revenue grew by 9.4% to $39.5 billion in 2025, as the share of the market controlled by indie record labels and the revenue labels are making from merch, live performances and branding rights all saw significant growth, according to MIDiA Research’s latest report.

“The story the numbers tell is that this is a good year — basically growth across all formats — despite disruption,” Mulligan tells Billboard, noting that even digital downloads had a good year compared to the prior decade.

Despite that broad-based growth, which represented a 4.2% increase in global recorded music revenues over a sluggish 2024, Mulligan says streaming faces significant disruption and that the makeup of music companies’ revenue in 2026 will likely change.

“I’m not saying that this is the calm before the storm, but we’re not yet seeing the effects of AI disruption, the impact of [streaming] price increases, or the impact of the Global South becoming more significant in terms of both the business and the culture of music,” Mulligan says. “It is incredibly important that the record labels have managed to diversify their growth because streaming is very exposed to disruption.”

While streaming remained the dominant contributor to global recorded music revenue last year, Mulligan points to the more than 20% growth in revenue from labels’ share of merchandise, live and branding rights — the centerpiece of their fan monetization strategies.

The growth of those expanded rights, as MIDiA refers to them, was so significant that it boosted overall recorded revenue. Stripping expanded rights out, total global recorded music revenue still grew by 7.7%.

While physical licensing and expanded rights grew faster in percentage growth terms in 2025, MIDiA’s report says there remains significant momentum underpinning streaming as the revenue engine for music.

It’s official: TikTok is staying in Canada.

After it was previously reported that the federal court overturned the Canadian government’s order to shut down the platform, the popular social media app will continue operations in the country. The company will now operate under new data protection rules designed to fiercely protect the data of Canadian users.

The announcement was made by Canadian industry minister Mélanie Joly, who revealed that a national security review concluded that TikTok could remain, subject to enhanced data security and child safety.

“The government of Canada will exercise its full authorities under the Investment Canada Act and ensure the full implementation and enforcement of the measures committed to by TikTok Canada,” Joly says in a statement, pointing to the legislation that ensures an organization is beneficial to the economy and doesn’t harm national security.

“The decision follows a thorough assessment of the information and evidence gathered during the review process, including advice from Canada’s security and intelligence community and other government partners,” she says. “Protecting Canadians’ data and the safety of children online will always be a top priority of the government.”

Some of the enhanced protocols include implementing data restrictions and age limits for minors, and protecting Canadians’ personal information through “new security gateways and privacy-enhancing technologies to control access to Canadian user data” to reduce the risk of unauthorized use.

An independent third-party organization will regularly audit and verify TikTok’s data access controls and provide reports to the federal government.

“Further, this decision will protect Canadian jobs, ensuring that TikTok Canada maintains a physical presence in Canada, with commitments to invest in its cultural sector,” says Joly, noting that the choice to remain a functioning operation in Canada is a future investment in the country’s creators and users on the platform, which receives over 15 million monthly visitors.

The choice to remain in Canada comes two months after the federal court overturned the shutdown ruling. Federal court judge Russel Zinn set aside the order and returned the matter to Joly for review.

“Keeping TikTok’s Canadian team in place will enable a path forward that continues to support millions of dollars of investment in Canada and hundreds of local jobs,” a spokesperson for the platform told CBC News.

It has been nearly three years since the government of Canada launched an inquiry into whether TikTok was a national security concern, becoming a major point of contention in the Canadian music industry.

Read more here. — Heather Taylor-Singh 

Meet Darren Gilmore, the Canadian Manager Behind Hilary Duff’s Chart-Topping Comeback

Hilary Duff is back, and her comeback is one of the best-executed in years — especially in Canada.

Her new album, Luck… Or Something, debuted last week at No. 1 on the Billboard Canadian Albums chart, a feat she hadn’t achieved in more than two decades. Building on the buzz of her intimate show at History in Toronto earlier this year that had the whole country buzzing, she’s now coming to 10 different Canadian cities on her Lucky Me World Tour in 2026 and 2027.

While the press run has played into the humour and nostalgia of the singer and actor’s 2000s-era pop star tabloid days and viral low-energy “With Love” dance moves, her comeback has been more than a novelty. It’s been orchestrated. With strategic rollout plans, a “dream team” of people working behind the scenes and a critically acclaimed set of songs that builds a space for grown-up pop on the global stage, Duff’s new act is resonating in a big way.

But there’s a reason it’s hitting so well in Canada: Duff’s management is Canadian. Led by industry veteran Darren Gilmore and a mostly female team headed by longtime vp and general manager Sarah Fenton, she has an expert set of people helping guide her. 

The president of Watchdog Management, Vancouver native Gilmore has worked closely with management legends like Bruce Allen and Sam Feldman, and now handles a roster that includes a strong set of Canadian acts including Mother Mother (who have also built a second act into major worldwide success), touring juggernaut Peach Pit, country singer Corb Lund and new Billboard Canada Airplay charts leader Boy Golden, among others.

When we reach Gilmore for this week’s Billboard Canada Executive of the Week, he’s just gotten off the set of The Tonight Show, where Hilary Duff performed her new hit “Roommates” and taught Jimmy Fallon the “With Love” dance. Amidst the busy promotional tour, he talks about the whirlwind rollout and why, beyond any 21st century viral marketing, the secret sauce is simple: Make good music.

Read the interview here. — Richard Trapunski

Elton John to Accept Glenn Gould Prize at 2026 Toronto Gala Featuring The Beaches, Diana Krall & More

Elton John is coming to Toronto.

The English legend has just been named the 15th Glenn Gould Prize Laureate, and he will be honoured at The Glenn Gould Prize Gala on May 9 at The Theatre at Great Canadian Casino Resort in Toronto.

The announcement was made by The Glenn Gould Foundation, which also revealed a star-studded lineup of Canadian artists hand-selected by John.

Performers include Diana Krall, Ron Sexsmith, The Beaches, two-time Polaris Prize winner Jeremy Dutcher, LOONY, Emily D’Angelo and Ryan Wang. The evening will also feature the presentation of The Glenn Gould Protégé Prize, with the winner to be announced later this month.

John was a surprise video presenter for The Beaches as they won the Women of the Year award at the 2025 Billboard Canada Women in Music, and now they can reciprocate.

Named for the iconic and pioneering Canadian pianist Glenn Gould, the Prize honours those whose work embodies Gould’s innovative spirit. It is considered one of the world’s most prestigious international cultural honours and has been dubbed the “Nobel Prize of the Arts.” Awarded biennially, it recognizes a living individual of any nationality or creative field for a lifetime of artistic achievement that has enriched humanity.

Established in 1987, the prize includes a $100,000 award for the Laureate, who also personally selects a young artist to receive the $25,000 Glenn Gould Protégé Prize, celebrating the vital role of mentorship.

“In selecting Elton John, we chose to honour someone whose artistic achievements have been transformed into profound social impact,” says Kim Campbell, former Prime Minister of Canada, and a jurist for the Glenn Gould Prize. “He has used his success to change lives, embodying the very highest ideals of the arts.”

The distinguished list of previous Glenn Gould Prize Laureates include Canadians Leonard Cohen, Oscar Peterson, R. Murray Schafer, Robert Lepage and Alanis Obomsawin, alongside such international luminaries as Philip Glass, Pierre Boulez, Yo Yo Ma, Andre Previn and Lord Yehudi Menuhin.

Read more here. — Kerry Doole

The Bellamy Brothers spent the bulk of their career crafting songs for the country audience, but when they made their first appearance on Billboard’s Hot Country Songs chart 50 years ago, on the survey dated March 13, 1976, the single actually performed better on the pop charts.

When it made that country debut, “Let Your Love Flow,” written by Neil Diamond roadie Larry E. Williams, was already at No. 28 on the Billboard Hot 100, where it rose to No. 1. It was ranked No. 10 on Adult Contemporary, where it climbed to No. 2.

“Let Your Love Flow” made it to a more modest No. 21 on the country list, but the song set up Floridians Howard and David Bellamy for a long line of hits in the genre. They piled up 10 chart-topping country titles from 1979’s “If I Said You Have a Beautiful Body Would You Hold It Against Me” through 1987’s “Kids of the Baby Boom.” Those songs emerged among 26 top 10 releases.

Their easy-going harmonies, congenial wordplay and inventive hooks earned plenty of industry recognition. They collected 17 nominations for the Country Music Association’s vocal duo and vocal group of the year honors, and David was inducted into the Nashville Songwriters Hall of Fame in 2024.

The Bellamys continue to reap rewards from their beginnings, too. “Let Your Love Flow” supported a 2025 Budweiser commercial that debuted during the Super Bowl, and the duo is currently on its 50 Years of Hits Tour, due next in Roanoke, Texas, on March 20.