Delta Goodrem’s incredible music voyage will take her to warm European waters next year, when the Australian pop star embarks on special round of luxury cruise performances.

The “Born to Try” singer will helm the music program for a 12-day luxury voyage through the Adriatic and Eastern Mediterranean, setting off from Venice on Aug. 27, 2027.

While on board, Goodrem will headline three intimate concerts and a Q&A, presented by boutique travel agency Destination HQ in collaboration with Mushroom Events, the Mushroom Group division that specializes in corporate functions, major event planning, and talent bookings.

“To be able to perform on a luxury cruise while sailing from Venice to Valletta together, is something I’ve never done before,” Goodrem explains in a statement. “It’s going to be an incredibly intimate and unique experience and I can’t wait.”

The ship, Ponant Explorations Le Bougainville, will sail away with just 90 suites and deluxe staterooms across five decks, and will float on past Croatia, Montenegro through to Puglia and Sicily, before arriving in Malta.

Goodrem is a superstar in her homeland. A soapie star who signed her first record deal at age 15, Delta’s collection of silverware includes 12 ARIA Awards and five No. 1 albums including 2003’s Innocent Eyes, which logged a whopping 29 weeks at No. 1 on the ARIA Albums Chart, making it the highest-selling debut album in Australian recorded music history. The album won seven ARIA Awards, was the highest selling album in Australia for two successive years, and yielded five No. 1 singles. Career album sales across her catalog is close to 10 million.

In 2023, after a decades-long association with Sony Music, Delta became an independent artist and label boss, overseeing ATLED Records.

Later this month, she’ll realize a dream when she represents Australia at the Eurovision Song Contest in Vienna, where she’ll perform her new single “Eclipse.”

Bookings and full itinerary details for the Delta Cruise are available at destinationhq.com.au or by contacting Destination HQ at hello@destinationhq.com.au.

Universal Music Group (UMG) is continuing to fight Salt-N-Pepa’s attempt to claw back ownership of the duo’s master recordings, arguing in a new appellate filing that copyright law’s termination right is not absolute.

The world’s largest music company submitted a brief on Tuesday (May 5) urging the Second Circuit Court of Appeals to reject the challenge lodged by Cheryl “Salt” James and Sandra “Pepa” Denton. The rappers sued UMG last year for refusing to revert their iconic late ’80s and early ’90s catalog under the so-called “termination right,” a tenet of the U.S. Copyright Act that allows artists to reclaim ownership of intellectual property decades after signing it away.

A New York federal judge threw out the lawsuit in January, determining that Salt-N-Pepa had no termination rights because they did not actually sign their 1986 record deal. Rather, the contract was between Next Plateau Records, which has since been absorbed by UMG, and the rappers’ producer, Hurby “Luv Bug” Azor.

Salt-N-Pepa have argued on appeal, with support from Irving Azoff’s Music Artists Coalition, that this ruling goes against Congress’ intent in crafting the termination right — that is, to give power back to creators who often lack leverage in early-career negotiations. But in Tuesday’s response, UMG said Salt-N-Pepa cannot explain away the “foundational deficiency” of the duo’s lawsuit with a “single-minded focus on the termination provision’s general intent to benefit authors.”

“While plaintiffs and their amici emphasize the congressional policy to give authors a second chance to capture the value of their creative works through a termination right, they ignore the extent to which the entire termination provision is itself a carefully balanced scheme that also places important limitations on when and how the right may be exercised,” wrote UMG’s lawyers. “[The lower court] correctly found that the present case falls clearly outside the scope of any termination right created by Congress.”

According to UMG, one of these key limitations carved out by Congress was that artists cannot terminate a copyright transfer made by a third party like Azor. That’s exactly what the rappers tried to do here, UMG argued, adding that the New York judge in no way reinvented the wheel by shutting them down.  

“Plaintiffs also criticize the district court for purportedly creating a new standard,” wrote the company’s attorneys. “However, properly understood in the context of the entire opinion, the district court’s analysis of the 1986 agreements reflects nothing more than the modest and obviously necessary requirement that a grant of copyright be made by the actual owner of the rights.”

Salt-N-Pepa’s lawyer did not immediately return a request for comment on UMG’s brief. The rappers will get another chance to rebut these arguments in writing, after which a panel of Second Circuit judges will hear oral arguments before ultimately deciding whether to revive Salt-N-Pepa’s lawsuit.

The Salt-N-Pepa appeal is not the only ongoing legal case in which UMG is staunchly defending the limitations of termination rights. The company is also part of a broader coalition challenging a landmark recent court ruling that expanded termination rights beyond U.S. borders.

UMG, Warner Music Group, Sony Music Entertainment and BMG all came together last month to buy the disputed copyright in that case so they could bring it to the U.S. Supreme Court for reversal. They’ve now begun the process of asking the justices to weigh in, saying the underlying decision goes against decades of industry norms and has “upended” global music dealmaking.

The American Society of Composers, Authors and Publishers revealed its 2026 ASCAP Latin Music Awards winners during an invite-only ceremony hosted Tuesday night (May 5) in Miami.

For a third time, Colombian hitmaker Keityn was named songwriter of the year after co-penning hits such as Karol G and Marco Antonio Solís‘ “Coleccionando Heridas,” Maluma‘s “Cosas Pendientes,” Feid‘s “Doblexxó” and Nicky Jam and Beéle‘ “Hiekka.”

New York Dominican superstar — and self-proclaimed King of Bachata — Romeo Santos won the ASCAP Latin songwriter-artist of the year award backed by his recent smashes “Ángel” (also starring Grupo Frontera), “Desde Hoy” (performed by Natti Natasha) and “Khé” (with Rauw Alejandro).

The 2026 ASCAP Latin Song of the Year award was given to “Si Antes Te Hubiera Conocido,” performed by Karol G and written by ASCAP songwriter Rios. The tune, which dropped last June, was published by Capital Music Puerto Rico LLC and Kobalt Music Publishing. The track ruled Billboard‘s Hot Latin Songs chart at No. 1 for 14 weeks and recently climbed back to No. 6 following Karol G’s headlining performance at this year’s Coachella.

Meanwhile, Daddy Yankee extends his reign as the most decorated Latin ASCAP songwriter in history, adding his 63rd and 64th award for the uplifting anthem “Sonríele” and “Latina Foreva,” the sultry tune performed by Karol G. The reggaetón legend has been recognized at every ASCAP Latin Awards ceremony since 2005.

On the industry side, Universal Music Publishing Group was recognized as Latin music publisher of the year for the fourth consecutive year, thanks to its representation of several latest hits by Bad Bunny, Rauw Alejandro and more.

Additional ASCAP Latin honorees include Julito Gastón, who earns his first recognition for cowriting Bad Bunny’s global hit “Baile Inolvidable” alongside Antonio Caraballo. Other winners include Feid (“Doblexxó,” “Háblame Claro,” “Verano Rosa”), Xavi (“En Privado,” “Flores”), Natanael Cano (“PRESIDENTE”), Tito El Bambino (“EoO”), Danny Ocean (“Imagínate”) and more.

See the full list of ASCAP Latin music winners on the ASCAP website.