A U.S. federal court judge has ruled that Ultra Music Publishing must change its name within six months after a jury found that the company breached the “Ultra” trademark owned by the Sony Music-owned Ultra Records.

Ultra Music Publishing is owned by Patrick Moxey, who also founded Ultra Records in 1995 and sold his remaining 50% share of the label to Sony Music in 2021. Sony brought the lawsuit against Ultra Music Publishing the following year, attesting that Moxey (who founded the publishing company in 2004) had signed away his rights to the trademark after selling his stake in the Ultra label.

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At the December trial, lawyers for Sony/Ultra Records argued that the label had impliedly licensed the Ultra trademark to the publishing company but that, after terminating that license in March 2022, the publishing company had continued to use the trademark in bad faith. The jury in the case agreed, also finding that the Ultra mark was distinctive, that Ultra Music Publishing was in breach of the license and that its use of the Ultra name was “likely to dilute [Ultra] Records’ Ultra trademark.”

However, the jury also found that Ultra Music Publishing’s use of the trademark wasn’t “likely to cause confusion among [Ultra Music] Publishing’s customers, and that [Ultra] Records suffered no
damage from Publishing’s breach of the license.” As a result, the jury awarded no damages or legal costs to Sony/Ultra Records.

“Independent music companies are always facing challenges from major corporations, who are threatened more than ever by their increasing success,” said Moxey in a statement sent to Billboard following Tuesday’s ruling. “With 13 songwriters nominated across seven categories at this year’s Grammys, and their participation in winning Album of the Year, R&B Album of the Year, and Rap Album of the Year, we are proud of the many successes of the songwriters we represent. Our roster of talented writers and producers, alongside our executive team will keep doing what they do best — delivering the exceptional work that has made us who we are. Nothing changes except the name.”

Sony Music declined to comment on the ruling.

Though the trademark case is now resolved, the legal battle between Sony Music and the publisher isn’t over. Last November, Moxey’s Ultra International Music Publishing and Ultra Music Publishing Europe sued Sony Music Entertainment and its subsidiaries — including Ultra Records — over allegations of copyright infringement, claiming Sony and its affiliates had been using Ultra Publishing’s compositions without a license. Last week, Sony Music Entertainment asked a judge to throw out that lawsuit, calling the complaint an act of “retaliation” against the major label for filing its trademark suit against the publishing outfit two years prior. That case is ongoing.

The South by Southwest Music Festival has announced that Chinese singer-songwriter Tia Ray will take the stage on March 11 as part of International Nights at Rivian Park. As the only invited artist from mainland China, she will headline the festival and deliver a grand finale performance for music enthusiasts worldwide, alongside international talents such as British musician Sam Ryder and French electronic duo KAP BAMBINO.

“catch me at SXSW next month!” Tia Ray posted on TikTok alongside a winking kiss-face emoji.

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Tia Ray stands out as one of the most accomplished singer-songwriters in the global music scene, earning widespread acclaim through her distinctive musical charisma and exceptional songwriting. Her accolades include the best female vocalist award at the 15th Singapore Freshmusic Awards, Billboard’s 2024 Women in Music Global Force honoree, and two-time nominations for multiple awards at GMA. As a mentor on CHUANG ASIA Season 2 this year, Tia Ray showcases her musical excellence, and is preparing to release her debut English album within the year.

As the world’s longest-running and largest cultural festival combining music, film and technology, SXSW brings together industry leaders, top-tier content IPs, and tens of thousands of enthusiasts each year for this global celebration of pop culture and technological innovation. Previously, many Grammy-winning musicians, such as Billie Eilish, Kendrick Lamar, Charli XCX, Dua Lipa, Cardi B, SZA and Lizzo, have graced the stage of the SXSW Music Festival.

According to the SXSW schedule, in addition to her performance at International Nights at Rivian Park on March 11, Tia Ray is also set to play Antone’s on March 10.

Billboard’s parent company PMC is the largest shareholder of SXSW and its brands are official media partners of SXSW.

Tom Waits has added his talents to the final episode of Italian documentary series, Il Fattore Umano (The Human Factor), with his work accompanying stories of homelessness in America.

The eight-part series, created by the Italian public television channel RAI3, offers investigative insights into how human rights have been violated by authoritarian regimes, autocracies and even democratic regimes. Focusing on how the most vulnerable and minorities face oppression in these countries, the final episode – titled Ultima Fermata (The Last Ride) – serves as an in-depth look at American poverty.

Looking specifically at four southern states – Tennessee, Alabama, Mississippi and Louisiana – filmmakers travel through the regions on public buses, discovering forgotten communities while exploring the dignity and solidarity of those forced to live in marginalized conditions thanks to a system that lacks safety nets.

The Last Ride pairs the stories of these individuals with the voice of Waits, who shares performances on acoustic guitar and piano while also reading from his poem Seeds on Hard Ground. A trailer for the episode is soundtracked by Waits performing “The Fall of Troy,” which originally appeared on the soundtrack to 1996’s Dead Man Walking.

“I am an individual who is deeply concerned with the inequities as we all are, but ill equipped to solve any of them,” Waits said in a statement. “I tell the world in the only way I know how: through my music. I don’t deal with politics or laws, and I don’t have answers to the big questions that concern us all. All I can do is try – through songs and poems – to inspire someone. I’m here to open up the window and open up our eyes. I guess a little bit, if I can.”

The Last Ride was written and directed by Angelo Loy, Martino Mazzonis and Luigi Montebello for RAI Radiotelevisione Italiana’s Il Fattore Umano. The episode will be available for global streaming on Wednesday (Feb. 26) via RAI’s RaiPlay streaming platform.

Chappell Roan is still dancing at the “Pink Pony Club!”

The superstar performed the anthemic hit at the 2025 Grammy Awards, just before taking home the best new artist award.

Following the performance, in February 2025, nearly two years after its release, “Pink Pony Club” hit the top 10 on the Hot 100, jumping from No. 18 to No. 9 and becoming Roan’s second career top 10 hit, and first from Midwest Princess

Below, find the full lyrics of Chappell Roan’s “Pink Pony Club.”

I know you wanted me to stay
But I can’t ignore the crazy visions of me in LA
And I heard that there’s a special place
Where boys and girls can all be queens every single day

I’m having wicked dreams of leaving Tennessee
Hear Santa Monica, I swear it’s calling me
Won’t make my mama proud, it’s gonna cause a scene
She sees her baby girl, I know she’s gonna scream

God, what have you done?
You’re a pink pony girl
And you dance at the club
Oh mama, I’m just having fun
On the stage in my heels
It’s where I belong down at the

Pink Pony Club
I’m gonna keep on dancing at the
Pink Pony Club
I’m gonna keep on dancing down in
West Hollywood
I’m gonna keep on dancing at the
Pink Pony Club, Pink Pony Club

I’m up and jaws are on the floor
Lovers in the bathroom and a line outside the door
Blacklights and a mirrored disco ball
Every night’s another reason why I left it all

I thank my wicked dreams a year from Tennessee
Oh, Santa Monica, you’ve been too good to me
Won’t make my mama proud, it’s gonna cause a scene
She sees her baby girl, I know she’s gonna scream

God, what have you done?
You’re a pink pony girl
And you dance at the club
Oh mama, I’m just having fun
On the stage in my heels
It’s where I belong down at the

Pink Pony Club
I’m gonna keep on dancing at the
Pink Pony Club
I’m gonna keep on dancing down in
West Hollywood
I’m gonna keep on dancing at the
Pink Pony Club, Pink Pony Club

Don’t think I’ve left you all behind
Still love you and Tennessee
You’re always on my mind
And mama, every Saturday
I can hear your southern drawl a thousand miles away, saying

God, what have you done?
You’re a pink pony girl
And you dance at the club
Oh mama, I’m just having fun
On the stage in my heels
It’s where I belong down at the

Pink Pony Club
I’m gonna keep on dancing at the
Pink Pony Club
I’m gonna keep on dancing down in
West Hollywood
I’m gonna keep on dancing at the
Pink Pony Club, Pink Pony Club

I’m gonna keep on dancing
I’m gonna keep on dancing

Lyrics licensed & provided by LyricFind

WRITERS
Daniel Nigro, Kayleigh Rose Amstutz
PUBLISHERS
Lyrics © Sony/ATV Music Publishing LLC

The Federal Communications Commission (FCC) is scrutinizing iHeartMedia’s upcoming iHeartCountry Festival in Austin as part of an investigation into whether radio stations have been offering airplay to artists in exchange for free shows.

In a lengthy letter sent Monday (Feb. 24) to iHeartMedia chairman/CEO Robert Pittman, FCC chairman Brendan Carr — who was appointed to the FCC board in 2023 by former President Joe Biden and promoted to chairman via an executive order from President Donald Trump on Jan. 21 — said he “want[s] to know whether iHeart is effectively and secretly forcing musicians to choose between, one, receiving their usual, ordinary, and full scale compensation for performing or, two, receiving less favorable airplay on iHeart radio stations.”

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Carr went on to note that “certain owners of federally licensed radio stations are effectively compelling musicians to perform at radio station events or festivals for free (or for reduced compensation) in exchange for more favorable airplay,” a practice he warned violated federal bans on practices like payola.

The letter follows a previous letter sent by U.S. Senator Marsha Blackburn (R-Tenn.) to the FCC earlier this month in which she asked the agency to take action to prevent the alleged practice, claiming it was “critically impacting Tennessee’s content creators.” The FCC subsequently issued an enforcement advisory in which it warned that promising radio play in exchange for free concerts would break federal law. The agency further said it would “consider investigating substantive allegations of payola that come to its attention.”

Traditionally, payola investigations have dealt with music labels and publishing groups paying radio stations to illegally promote commercial music and boost album sales. In 1959, popular radio personalities like Alan Freed were investigated by both the U.S. House and Senate for accepting cash “consulting fees” to play songs on the radio as requested by the shadowy radio promotion industry. In the 1970s, the investigation expanded to include the Italian mafia, whom the FCC accused of using drugs like cocaine for payola. In the 1990s, former NY District Attorney Elliot Spitzer won payola settlements against Sony, BMG and Warner Music, and won a civil lawsuit against Entercom.

Carr’s letter to iHeartMedia hints that the federal government may adopt a novel legal theory that radio promotion concerts, held by large FM radio stations in markets across the U.S., could be a form of payola. Specifically, Carr singles out the May 3 iHeartCountry Festival in Austin, Texas.

Carr’s three-page letter to iHeart included eight lengthy questions he asked Pittman to answer within 10 days. Among other things, Pittman is requesting a list of all artists playing iHeartCountry Festival at Austin’s Moody Center, how much they would normally be paid for a concert appearance and whether any of the artists “will receive better or worse airplay on iHeart radio stations based on their participation in the Festival or the compensation they receive for performing at the Festival.”

In the music business, artists’ appearances are typically delineated into two categories: promotional, or media, appearances, when an artist is promoting a new venture like an album or a film and appears on a talk show to promote that project; and paid appearances, when an artist performs or showcases their talents to audience members who have typically paid some type of admission fee. Artists aren’t usually paid for promotional appearances, and radio concerts have long been categorized by radio stations as promotional in nature and typically do not include payments.

Carr continued that he wants to learn more about the upcoming iHeart concert so that he can get “a real-world example of how such events are put together—including artist solicitation and compensation—and the procedures that are in place to ensure compliance with the relevant statutes and regulations.”

Officials with iHeartMedia responded to the letter in a statement, noting that the company looks forward to “demonstrating to the Commission how performing at the iHeartCountry Festival — or declining to do so — has no bearing on our stations’ airplay, and we do not make any overt or covert agreements about airplay with artists performing at our events.”

The iHeart statement goes on to say, “The iHeartCountry Festival provides the same kind of promotion that that we see with artists on talk shows, late night television, the Super Bowl and in digital music performances and events: the promotional value to the artists is the event itself, and, in our case, is unrelated to our radio airplay.”

This lineup at this year’s iHeartCountry Festival lineup, which is slated for May 3, includes Brooks & Dunn, Thomas Rhett, Rascal Flatts, Cole Swindell, Sam Hunt, Megan Moroney, Bailey Zimmerman and Nate Smith.

Josh Groban signed with CAA in all areas. According to a press release, the singer has sold more than 35 million albums worldwide. In May, he will play an exclusive five-night run at The Colosseum at Caesars Palace in Las Vegas. Groban is managed by Diarmuid Quinn at TourDForce Productions. His attorney is Richard Leher and his publicist is Luke Burland.

Coi Leray signed a recording contract with Epic Records and signed with Cory Litwin at Range Media Partners for management. Leray released the EP What Happened to Forever on Feb. 12. She previously released music on Universal Music Group’s Republic and Island Records.

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Armada Music extended its deal with D.O.D with a new long-term agreement. The British DJ/producer just released the single “Wrap Yourself Around Me” featuring NORTH. Armada is also D.O.D’s publisher via its Armada Music Publishing arm.

Spanish electronic artist Judeline signed with WME for representation in all areas. She previously released the EP De La Luz and the album Bodhiria. Last summer, she opened for J Balvin on his European tour and is currently wrapping her second solo tour. Her upcoming set at Coachella will serve as her U.S. festival debut.

The U.K. office of Believe signed deals with three rap artists: SL, Cristal and Strandz. SL signed an artist services deal covering both frontline and back catalog, with the rapper retaining ownership of his masters and creative control. Cristale and Strandz signed distribution deals on frontline releases, with Believe providing label management, editorial and marketing partnerships at DSPs, video and audience development, and synch services.

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Singer-songwriter, producer and multi-instrumentalist Cautious Clay (Joshua Karpeh) signed with Concord Records, which recently released his new single “No Champagne (6am).” Concord Music Publishing previously acquired Clay’s catalog in 2024.

Mexican singer Carolina Ross signed a record deal with Fonovisa/Universal after several years as an independent artist. Born in Culiacán, Sinaloa, the artist’s acoustic versions of regional Mexican hits have amassed more than 400 million streams, according to a press release. – Tere Aguilera

Pop-rock group Arrows in Action signed with Nettwerk, which will release the trio’s new album, I Think I’ve Been Here Before, on May 16, with a second installment of the album to follow.

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Nettwerk also signed indie-pop artist Your Smith (formerly Caroline Smith) and released her new single “Peaches.”

Warner Music Group signed a global label deal with Japanese dance and vocal boy group PSYCHIC FEVER via Warner Music Japan, in partnership with 10K projects in the U.S. The group will release its first single under Warner Music in June.

Ontario, Canada, band Arm’s Length signed with Pure Noise Records, which will put out the group’s sophomore album, There’s A Whole New World Out There, on May 16. The album is preceded by the single “Funny Face,” which is out now.

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Anthony Martini and Rich Barner‘s recently launched Gravel Road Records signed country artist Travis Bolt (“Never Tried Cocaine”). An EP is coming in the spring.

Melbourne-based band Tropical F— Storm signed to indie label Fire Records, which released the group’s new single, “Goon Show.”

DJ Python (Brian Piñeyro) signed to XL Recordings, which will release his forthcoming five-track EP, I Was Put On This Earth, on March 28 as part of the label’s “house bag series.” The first track to be released from the EP is “Besos Robados.”

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Triple Tigers Records signed singer-songwriter and Tennessee native Shane Profitt. Profitt earned a top 20 Billboard Country Airplay hit with “How It Oughta Be” in 2023 and previously released the BMLG Records/Harpeth 60 Records project Maury County Line. He is currently in the studio working on new music and is managed by Maverick Nashville Management. The Triple Tigers Records roster also includes Scotty McCreery, Russell Dickerson and Jordan Fletcher. – Jessica Nicholson

Sony Music Nashville signed Latina country singer-songwriter Kat Luna. Luna was previously part of the duo Kat & Alex and has since released solo music including “That Girl” and “Happiest I’ve Ever Been.” She is prepping new music with producer Nathan Chapman and is represented by Neon Coast for management, UTA for booking and Warner Chappell Nashville for publishing. – Jessica Nicholson

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Korean rock artist LØREN signed with L.A.-based label AYLA. LØREN previously worked as a songwriter on BLACKPINK’s The Album, including the tracks “Pretty Savage,” “You Never Know” and “Lovesick Girls.”

Warner Classics signed the all-women vocal ensemble Lyyra. The first release under the deal will be a digital single of Vienna Teng’s song “Hymn of Acxiom,” which will be released on March 7 to celebrate International Women’s Day.

Olivia Kuper Harris didn’t just step onto The Voice stage—she transported it to another era. Taking on Doris Day’s timeless ballad “Dream a Little Dream of Me,” the Dallas-born singer draped the room in nostalgia, delivering a performance so rich and velvety it felt like a lost recording from jazz’s golden age.

John Legend, Adam Levine, and Kelsea Ballerini couldn’t resist.

Legend was the first to turn his chair, drawn in by Harris’ effortless control. Levine wasn’t far behind, nudging Ballerini to do the same. “What are you waiting for?” he asked, prompting her to hit her button.

“I don’t know! You’re so right,” Ballerini admitted.

As the final note hung in the air, Levine turned to Harris with a grin. “You’re really special,” he said, making it clear she had impressed him. Then, in true Adam fashion, he took a playful jab at his fellow Coach. “And Michael Bublé is a fool.”

Legend, ever the strategist, made his pitch. “What got me at first was just the beauty of your tone,” he said on the warmth and elegance Harris brought to the song. Ballerini added that Harris’ voice had a rare quality—something that could transcend genres and connect with all types of listeners.

Harris, overwhelmed with emotion, took a deep breath. She had come looking for a sign, a confirmation that this was the path she was meant to follow. “Being on stage, I feel like it’s my purpose in life,” she said. “It makes me emotional because I’ve looked for so many other things I could possibly do… and this is it, man.”

With three Coaches vying for her, the decision was hers.

Ultimately, it was Legend’s pitch that resonated most with Harris. She joined his team, adding another unique voice to his roster for The Voice Season 27.

Harris’ audition stood out not just for its technical precision but for its ability to evoke an era long past. While many hopefuls lean into pop, R&B, or powerhouse ballads, Harris took a different route—one that paid off in a big way.

As the competition heats up, it remains to be seen how Harris will evolve under Legend’s mentorship. But if her Blind Audition was any indication, The Voice might have just found its next great jazz revivalist.

Sam Fender might only be days removed from the release of his third album, People Watching, but already the English musician is thinking of shaking things up for his next record.

On Friday (Feb. 21), Fender put an end to the multi-year wait for another studio album by releasing People Watching as the follow-up to 2021’s critically-acclaimed Seventeen Going Under. Having teased the album since the release of its title track in November, the record is on its way to becoming a watershed moment for the singer-songwriter.

However, while Fender has managed to harness his heartland rock style with great success, a new interview indicates that he’s looking for a bit of a sonic shift when it comes to album number four.

Speaking to The Sunday Times, Fender revealed that he has piles of new material at the ready, going so far as to show his phone to the interviewer and previewing “dozens of demos.” According to the article, these include songs such as “Drugs” and “Hornsby,” the latter of which is named for its sonic similarities to U.S. musician Bruce Hornsby.

Most notably, Fender adds that he’s “desperate” to record a punk album. “I’m buzzing! I’m just singing at you!” he tells the interviewer, going so far as to belt out a Tom Petty-esque track as a preview.

“People are going to hate you, whether you’re a saint, sinner, giver or a taker,” Fender sings on one of his as-yet-unreleased tracks. “But a big old heart is all that it’s worth. And he said, ‘You’ve got a big old heart, kid! Don’t let them own it.’”

Currently, it remains to be seen when Fender will actually get some time to hit the studio and work on his desired punk album, given his hectic live schedule. 

In December, he cut short a run of U.K. tour dates following a diagnosis of a hemorrhaged vocal cord, and he’s currently set to return to the global stage for a series of European dates in early March. He’ll hit the U.S. and Canada the following month, with a series of summer dates scheduled for the U.K. and Europe throughout June, July, and August.

Before he returns to the touring circuit, Fender will also perform at the Brit Awards on Saturday (March 1). He’s also up for two awards at the ceremony, including British artist of the year, and best alternative/rock act, the latter of which he previously won in 2022.

Iconic Chilean songstress Myriam Hernández graced the stage on Monday (Feb. 24) at the Viña del Mar International Song Festival, marking her first performance at the event in over 20 years. At 7:45 p.m. ET, the singer made a memorable entrance with “El Hombre Que Yo Amo,” her hit from 1992, accompanied by a live band featuring keyboards, melancholic violins, and a cello.

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Dressed elegantly in a black, beaded gown with a leg slit, Hernández showcased her signature vocal range and poise right from the start. She continued with a seamless transition into “Te Pareces Tanto A Él,” accompanied by striking visuals including fiery planet imagery, masks, and bucolic scenery.

The show continued with the ranchera-tinged “Nos Lo Hemos Dicho Todo,” continuing to display her exceptional vocal prowess. “Good evening Viña, I dreamed of this moment. 23 years have passed, and 35 years since I stood up on this stage for the first time; and you made that dream of that four-year-old girl come true,” she said in between songs. “I just have to give infinite thanks to God, to you, to all of you.”

Following nostalgic hits like “Mío” and a vibrant medley that included “Dónde Estará Mi Primavera” and “Rescátame,” the stage came alive with more dynamic visuals. Chilean musician Valentín Trujillo also joined her for “Se Me Fue” on the grand piano, enriching the historic moment.

One of the night’s highlights was the appearance of the Power Peralta twins, whose electrifying dance moves in fiery red pants and sparkly B.B. Simon belts — and their washboard abs — complemented Hernández’s performance of “Leña Y Fuego.” The superstar, now in a shorter, more flamboyant dress, continued to rev up the energy, surrounded by a dozen female dancers, cementing her status as a queen of the stage. “Myriam, you are the queen of Chile, and thank you very much for representing us so well,” exclaimed one of the Power Peralta brothers.

The emotional peak of the night arrived as Hernández was awarded the prestigious Gaviota de Platino — which has only been awarded four times (Luis Miguel, Juan Gabriel, Lucho Gatica, Los Jaivas) in its 64th history of the festival; she is the fifth artist to receive the coveted prize. “It is so difficult to talk and describe what I feel,” said the emotional performer. “I am proud to be Chilean, and that is my flag to the whole world, you are my greatest motivation.”

As Hernández sang “Ay Amor,” tears streamed down her face. “Myriam Hernández, the balladeer of America, leaves an indelible mark on Viña and all who witnessed this historic return,” remarked one of the announcers as the showcase came to an end.

Viña will continue that night with the duo Ha*Ash, and on Tuesday (Feb. 25) with Colombian’s Morat headlining and Sebastian Yatra; Feb. 26 with Carlos Vives headlining and Carín León; Feb. 27 with Incubus, Juan Carlos López and The Cult; and Feb. 28, urban night, with headliner Duki, Eladio Carrión and Kid Voodoo.

Tony Hawk has taken to social media to lament the fact that Kurt Cobain isn’t alive to meet the grandchild they share.

In September 2024, it was announced that Hawk’s son Riley and Cobain’s daughter Frances Bean had given birth to a baby boy. “Ronin Walker Cobain Hawk,” Cobain wrote on social media, revealing her son’s birth date as Sept. 17. “Welcome to the world most beautiful son. We love you more than anything.”

While the couple’s 2023 marriage and subsequent parenthood was the dream pairing that ‘90s kids the world over could have hoped for, it also resulted in the newborn boasting two of the decade’s most iconic and influential figures as his grandfathers.

Now in his own post on social media, Tony Hawk has reflected on the impact that Kurt Cobain had upon his life, reflecting on a Nirvana gig he once attended and sharing his desire that Cobain could have met their shared grandson.

Hawk’s post was shared to Instagram Stories over the weekend and featured a ticket stub to an Oct. 20, 1991 Nirvana concert at the long-gone Houston, TX venue The Vatican. According to Hawk, he was in the area for a skateboarding competition and went directly from the event to the show.

“It was as transformative as live music can possibly be,” Hawk wrote of the gig. “We all experienced something rare and powerful that night. The world would never be the same.”

The event itself took place right on the cusp of Nirvana’s massive global takeover. Priced at just $10, the show took place just shy of four weeks after the seminal grunge outfit had released their breakthrough album, Nevermind. Just under three months later, the record would topple Michael Jackson’s Dangerous to claim the top spot on the Billboard 200, and swiftly turning the group into household names.

“I wish Kurt were here so he could see the incredible woman his daughter has become, meet her devoted, caring husband, and hold our wondrous grandchild,” Hawk added to his post.

Both Nirvana and Tony Hawk have found themselves at the forefront of the news cycle recently. While the surviving members of Nirvana performed separate reunion sets with celebrity vocalists for the FireAid LA Benefit Concert and Saturday Night Live’s SNL50: The Homecoming Concert, Hawk’s eponymous video game series has been the talk of the gaming world thanks to rumors of a new volume to be announced next week.