The entertainment lineup for the 2026 Formula 1 Singapore Airlines Singapore Grand Prix race in Marina Bay, Singapore is stacked. The main stage acts for the event slated to take place from Oct. 9-11 include the Goo Goo Dolls, Split Enz and an F1 Drivers’ Fan Forum where fans can catch the drivers on the Wharf Stage on the first two days.

The General Stage will host DJ Snake, Major Lazer Soundsystem, Tokimonsta, Run-DMC’s Rev Run, Mark Ronson, a DJ set from Australian electronic house duo Flight Facilities and Zhu.

In an Instagram post announcing the lineup, organizers said the lineup for the main Padang Stage and Zone 4 acts will be announced soon. “From high-octane track action with F1, F1 Sprint and Porsche Carrera Cup Asia to back-to-back international DJ sets at an all-new Barge Stage, a Zone 1 ticket unlocks the best of racing and entertainment across the Circuit Park 🙌🏼,” read another post revealing the lineup.

Limited three-day and single-day tickets are now available at singaporegp.sg.

“The F1 Sprint race sets the tone for a thrilling Formula 1 Singapore Airlines Singapore Grand Prix 2026 weekend. Building on the excitement on track, we are raising the tempo with a multi-genre line-up featuring some of the biggest names in entertainment, including high-calibre DJs that have headlined EDM festivals around the world,” said Adam Firth, executive director of Singapore GP Pte Ltd. in a statement. “The artist line-up for the Padang Stage is progressing well and will be announced shortly, as we complete a jam-packed race weekend festival that extends well beyond the track.”

Last year’s lineup featured the Foo Fighters booking their first gig of 2025, headlining the Padang Stage alongside DJ/producer Alan Walker at the event that also featured South Korean rapper/singers CL and G-Dragon, Indonesian pop singer Putri Ariani and Singapore pop group Oakë, as well as Crowded House, Babymetal, The Lathums, U.K. singer Tom Grennan, Elton John, the Smashing Pumpkins and Wombats.


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Hits come, hits go. Sometimes hits return, and you don’t see it coming. Jennifer Lopez was blindsided when “On the Floor,” featuring Pitbull, returned to the Billboard charts for the first time in 15 years.

Lopez was the first guest on Jimmy Kimmel Live, airing Wednesday night, May 27, for a promotional stop in support of her forthcoming Netflix film Office Romance. Her recording career is enjoying a bounce, too, thanks to a major viral moment sparked by the Prime Video series Off Campus.

“On the Floor” is surging following a steamy scene starring the character Allie (Mika Abdalla), dressed as J.Lo, and Dean (Stephen Kalyn), dressed as Tom Cruise’s character Maverick from the Top Gun films, who dance to Lopez’s 2011 single at a Halloween party. Lopez later joined the moment on social media, teaming up with Abdalla to re-create part of the scene and dance to the song.

Thanks to all that action, the song debuts at No. 117 on the Billboard Global 200 and No. 80 on the Global Excl. U.S. charts (dated May 30).

Speaking with Kimmel, Lopez revealed that her socials team had alerted her to the buzzy situation. “I was like, ‘what?!’ It was like out of the blue.” And with that, she went a little deeper into the consumption of digital music. “The music business, everything has changed because people discover (from different sources),” she opined. “My kids are listening to all kinds of music that I’ve never even heard of. And some stuff that is classic, like the Beatles. Listen, great music lives forever, as we know, but it lives in a different way now because they can find it easily.”

“On the Floor” is a milestone in both J.Lo and Pitbull’s chart histories. It marked one of Lopez’s 10 top 10s on the Billboard Hot 100, where it peaked at No. 3 in 2011 among her 32 career entries, and it stands as one of Pitbull’s 10 top 10s among 45 total entries.  

During her latest late night TV stint, Lopez discussed single life, and her 18-year-old twins graduating from high school (and the tears that come with the thought). And she revealed that she’s shy. She’s also a huge fan of Barbra Streisand, but hasn’t met her and just might get starstruck if she did. “I like to sing, I like to dance. I like to act. But it’s all behind the character. Behind the facade,” she explained. “I couldn’t do what you do, like host a show.”

In Office Romance, Lopez plays a high-flying CEO of an airline who enforces a strict anti-fraternization policy for all her employees, per The Hollywood Reporter. Things go awry when the attractive new lawyer, played by Brett Goldstein (Ted Lasso), enters the picture.

Office Romance premieres June 5 on Netflix. Watch Lopez’s interview below.

Soft, loud, soft. Mogwai’s irrepressible wall of sound has been wailing out of amplifiers for three decades, unbowed, undented by fluctuations in pop culture. Undefeated. The Scottish post-rockers are a sonic force of nature, a swirling hurricane of guitars. Sometimes heavy, sometimes not. Soft, loud, soft.

Formed in Glasgow back in 1995, the four-piece stopped by the Sydney Opera House last weekend for the ultimate 30th birthday bash (well, 31 now, but who’s counting).

From the very start, Mogwai has been independent. DIY, even. “Once in a while” the major music companies would come knocking, frontman Stuart Braithwaite tells Billboard backstage ahead of the concert, a production for Vivid LIVE. “Yeah, well,” he points out, “we are completely indie, you know.”

Mogwai owns, operates and releases its music through the Glasgow-based Rock Action Records. That label, like the band, was established in the mid-1990s and remains fiercely independent. Today, it’s home to a diverse roster of artists, including Arab Strap, The Twilight Sad, Kathryn Joseph, Cloth, Sacred Paws, Errors and Remember Remember. For North America, the band’s music is released through the Brooklyn-based independent label Temporary Residence.

The band flexed those indie muscles with a show Saturday, May 23, at the Concert Hall within the iconic SOH. Mogwai is mostly instrumental, mostly guitars. With a setlist featuring “Yes! I Am a Long Way From Home,” “Ritchie Sacramento,” “Auto Rock” and the blistering encore “Mogwai Fear Satan,” and playing against a backdrop of an all-purpose ridge, Mogwai reels the house in, fixes them in a trance.

On this occasion, Braithwaite is the only bandmate who chats with the crowd. His banter rarely rises above a “thank-you so much. Cheers.” Mogwai let their respective instruments do the talking. On stage left, a Palestine flag tacked to a Marshall stack. A “soft loud soft” political statement.

Before the sonic chaos and subtlety, Braithwaite reflects on his career highlights. And of lessons learned. He’s reminded of the late Lou Reed, who in 2010, staged “Music for Dogs” on the steps of the Sydney Opera House. “That’s quite a painful memory for me because he actually asked us to come and play with them,” he recounts. “We didn’t do it, and then he died. To be honest, it was a teaching moment, as they say. Because I think anytime we get opportunities like that, we always really take them because you don’t want to miss out. Especially with older (artists) because you don’t know how long they’re going to be around.”

Braithwaite’s tracksuit has touches of green, a nod to his beloved Glasgow Celtic soccer club, which, some hours later, would complete the “double” by winning the Scottish Cup against Dunfermline Athletic, by a scoreline of 3-1. Mogwai had a massive win, too, during the pandemic. The band scored their first No. 1 on the Official U.K. Albums Chart in Feb. 2021 with As The Love Continues, their tenth studio LP.

“Yeah, that was crazy,” he remember. “When I got the first chart through, I thought it was like the Scottish chart or the vinyl chart or something. Someone was like, ‘no, that’s the real chart. I was like ‘wow.’”

All up, they’ve collected 11 appearances on the U.K. top 40 albums chart, including four top 10s, most recently with 2025’s The Bad Fire, which peaked at No. 5. But a No. 1? “That was really cool. It wasn’t even a dream come true because I don’t think any of us had dreamed about it. It was just this insane thing to happen.”

There are no immediate plans to release a 12th studio album, not this year. Or cut a soundtrack. “I’ve also got nothing to do next year, so yeah, I need to think of something,” he quips. For the months ahead, Braithwaite and his bandmates (bassist Dominic Aitchison, drummer Martin Bulloch, and multi-instrumentalist Barry Burns) are soaking up their extended birthday party, which includes festival spots across the U.K., Europe and Japan’s Fuji Rock.

“That’s one thing about the anniversary is (we’re) just really grateful that people are still coming to see us and want to hear our music. And yeah, it’s pretty insane after a really long time,” Braithwaite continues. “And to get younger generations (to come along) as well. People that maybe, definitely, weren’t even born when we started the band. Anyone under the age of 30, yeah, they weren’t born when we started the band.”

Vivid LIVE is the annual contemporary music centerpiece of the Sydney Opera House, and part of the broader Vivid Sydney festival, which runs through June 13. Vivid Sydney is owned, managed and produced by the New South Wales government, Destination NSW and Feel New Sydney.

Kapo, Edén Muñoz and Sony Music Publishing were among the biggest winners at the 2026 SESAC Latina Music Awards, held Wednesday (May 27) at the Fairmont Century Plaza in Los Angeles, where the company celebrated the global success of its songwriters and publishers.

For the first time, Kapo was named pop/Latin rhythm songwriter of the year for hits such as “Más Que Tú” (with Ozuna), “Imagínate” (with Danny Ocean), “Luna” (with Wisin) and more. Meanwhile, Edén Muñoz earned regional Mexican songwriter of the year for the fifth time, recognized for songs including “Lejos Estamos Mejor,” which also took regional Mexican song of the year.

The pop/Latin rhythm song of the year award was given to “En Privado,” a bachata-inspired track penned by Manuel Turizo and Kemzo, published by MTZ Publishing, La Industria Music Publishing, and Sony Sounds, and performed by Xavi and Turizo. The song — included in Xavi’s 2026 album Dosis — reached No. 1 on Billboard‘s Latin Airplay and Tropical Airplay charts.

Sony Music Publishing was named publisher of the year across both award genres after scoring 13 award-winning songs during the ceremony.

“Honoring the vibrant Latin music community is a tradition we deeply cherish at SESAC, and we are proud to celebrate the incredible creativity of its songwriters, producers, publishers, and artists,” said Scott Jungmichel, president and COO of SESAC Performing Rights, in a statement. “This music does more than entertain – it tells powerful stories, connects generations, and unites people around the world.”

Celeste Zendejas, svp of SESAC Latina, added, “We are honored to celebrate another remarkable year of exceptional music, recognizing the songwriters and publishers whose creativity continues to shape culture and inspire audiences around the world.”

Guests were also treated to a live performance by Kapo, who continues to establish himself as a rising force in the Spanish-language Afrobeats genre.

The event was sponsored by City National Bank, A&I Music Entertainment, and Rossi Baldivia Klein Fine & Spector. Below, see the main winners of the 2026 SESAC Latina Music Awards.

Regional Mexican Songwriter of the Year

Edén Muñoz

Pop/Latin Rhythm Songwriter of the Year

Kapo

Regional Mexican Song of the Year

“Lejos Estamos Mejor,” written by Edén Muñoz

Pop/Latin Rhythm Song of the Year

“En Privado,” written by Manuel Turizo and Kemzo

Publisher of the Year

Sony Music Publishing

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Summer can be unpredictable, especially when it comes to your hair. The heat and humidity can transform your hair from straight to frizzy, but a good blow dryer can save the day, especially in an unexpected hair emergency.

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When it comes to the best hair dryers, we like Dyson’s Supersonic Nural, which the brand says is it’s “most intelligent” hair dryer yet. Released in 2024, the 10-inch hair dryer is still one of our daily go-tos, thanks to features like sensor technology that reduces heat damage and a slew of “new and improved” attachments, including a gentle air attachment, styling concentrator, wave and curl diffuser, wide tooth comb and flyaway attachment. Don’t just take our word for it: Beyonce has been seen using the Dyson Nural too.

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What you’ll like this: the Dyson hair dryer is equipped with sensors that automatically reduce heat as the Nural gets close to your head, and a scalp protection mode automatically reduces the heat to 131-degrees, an “optimum temperature for scalp comfort and drying speed,” per Dyson.

Depending on how close it is to your hair, the Nural’s LED lights will adjust from yellow (low heat) to orange (medium heat) or red (high heat) when in Scalp Protect mode.

I tested the Dyson’s Supersonic Nural hair dryer during a trip overseas, and it came in handy when my flat iron failed the vibe check. It’s surprisingly lightweight, not too bulky or loud, and works rather quickly. My hair was silky smooth and felt healthier — not fried.

Another bonus: the Nural is smooth to the touch and has a motion sensor that turns the blow dryer off when you put it down. Plus, it’s compact enough to throw in your luggage and take on summer vacation.

The Dyson Nural Supersonic hair dryer is available in multiple colors online at Amazon but the “amber silk” colorway is the one with the current $100 discount. Don’t wait long though as Amazon pricing could change at any time, so we recommend adding this Dyson to cart while the sale is still live. See more details here.

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This set comes with the lightweight handheld hair dryer, plus interchangeable diffuser and nozzle attachments. More than 73% of shoppers give this Dyson alternative a full five-star rating.

Young MC is the latest artist to walk away from the lineup of the Great American State Fair, the event celebrating America’s 250th anniversary.

The “Bust a Move” rapper was initially announced to the bill, alongside the likes of Martina McBrideFlo Rida, C+C Music Factory, Vanilla Ice, Milli Vanilli, The Commodores, and others, all of them participating in the 16-day “national exposition” kicking off June 25 and wrapping up July 10, with musical performances every Thursday, Friday and Saturday night.

In a social post, Young MC confirms he is out. “I HAVE INFORMED MY AGENTS THAT I WILL NOT BE PERFORMING AT THE FREEDOM 250 EVENT,” he writes. “The artists were never told about any political involvement with the event. And despite the claims by the organizers that the event is non-partisan, SPIN magazine describes it as Trump-backed. I hope to perform in D.C. in the near future at an event that is not so politically charged.”

A description on the Freedom 250 website downplays the political angle of the 250th anniversary event. “The celebration will unite and showcase all 56 U.S. states and territories in a single World’s Fair-scale event,” reads the blurb. “This is an opportunity for visitors from across America to experience an unforgettable celebration of the people and traditions that define our nation.”

Also featuring carnival rides and stations showcasing the cultures of all 56 American states and territories, the festival will mark the finale of President Donald Trump’s year-long Great American State Fair, which also involves activations in state fairs across the country. The twice-impeached president first previewed plans for the celebrations in July last year, with the White House promising at the time that the administration would “throw the greatest birthday party in American history.”

Young MC joins Morris Day & The Time, which separately left the line-up with the message: “Contrary To Rumor, Morris Day & The Time Will Not Be Performing At The ‘GREAT AMERICAN STATE FAIR.’” A caption for the post adds “It’s a no for me,” with a smiley-face emoji wearing sunglasses.

Born in London, England, to Jamaican immigrant parents, and raised in New York city, the 59-year-old Young MC (real name: Marvin Young) was one of hip-hop’s earliest hitmakers on the Billboard charts, and enjoyed several top 10 hits on the Billboard Hot 100.

As a songwriter, he’s credited with two 1989 smashes for Tone-Loc that enjoyed crossovers, not just in the U.S. music scene but on charts and airwaves around the globe. “Wild Thing” went to No. 2 on the Billboard Hot 100 – at the time, the genre’s highest peaking hit on the flagship chart – while “Funky Cold Medina” nearly duplicated the feat, reaching a No. 3 best. In the same year, he nabbed another classic, this time as a solo artist with “Bust a Move,” which blasted to No. 7 on the Hot 100 and won a Grammy Award for best rap performance.

Kid Cudi has long been open about his mental health struggles, and being open about his battles over the years helped a generation of millennial hip-hop fans along the way.

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With all of the experience he’s gained along his journey, Cudi is joining the movement We Are Enough as a founding partner, the organization announced Thursday (May 28), in the midst of Mental Health Awareness Month. We Are Enough is an initiative launched to remove the stigma surrounding mental health and benefit those struggling.

“Been open about my struggles for years — I know what it’s like to be in that dark place,” said
Kid Cudi in a statement. “That’s why I’m excited to be a founding member of We Are Enough — a reminder that we already enough, just as we are. 100 percent of proceeds go straight to nonprofits doing the real work on the ground for mental health.”

To kick off the partnership, everyone in attendance of Cudi’s NYC show of his Rebel Ragers Tour at Madison Square Garden on Saturday night (May 30) will receive a We Are Enough bracelet.

We Are Enough was founded by entrepreneur Blake Mycoskie, who faced his own mental health struggles while battling depression, which led him to creating the initiative. Mycoskie is best known for building TOMS into a global footwear brand.

According to the organization’s website, We Are Enough’s mission is to “spread reminders in every form — bracelets, messages, actions, community — until feeling ENOUGH becomes the cultural default.” The organization will donate 100 percent of profits toward benefiting mental health initiatives.

The “Pursuit of Happiness” rapper’s Rebel Ragers Tour started in April and comes to MSG on Saturday, before heading to Camden, N.J.; Hartford, Conn.; Mansfield, Mass., and Bangor, Maine, to kick off the first week of June.


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Delta Goodrem one year, Keli Holiday the next.

The Australian singer, songwriter and co-founder of electronic duo Peking Duk, isn’t against the idea of following in Delta’s footsteps and representing Australia at the Eurovision Song Contest.

Holiday (real name: Adam Hyde) stopped by Triple M’s Mick in the Morning on Wednesday, May 27 for a chat with co-hosts Mick Molloy, Rosie Walton, and Nick Riewoldt.

Funnyman Molloy pitched the idea of Holiday throwing his hat into the glittery ring that is Eurovision. “I had a fever dream the other day,” Molloy remarked, “you would win us Eurovision.” He continued, “it’s possibly of no interest to you… it’d be incredible. You go there and do that (“Dancing2” dance), and they would lose their minds.”

Holiday was on the same page. “No, I would give it a crack. We could do it,” he enthused.

Goodrem is a hard act to follow. With her performance of “Eclipse” earlier this month at Wiener Stadthalle, Austria, Australia placed fourth overall – the country’s second-highest placement in the contest’s history, behind only Dami Im’s second-placed finish a decade earlier, in 2016.

Holiday is flying high right now, thanks to his viral hit “Dancing2,” song of the year winner at the 2025 ARIA Awards. Its parent album, Capital Fiction, opened at No. 3 on the all-genres ARIA Albums Chart in February, and topped the national Australian albums tally. The Canberra-based artist supported the record with a national tour in March that went deep into regional Australia, and headed abroad with his first-ever run of dates in North America. That’s where Holiday was, briefly, grounded.

As previously reported, Holiday says he was denied re-entry into the United States during that trek, forcing him to cancel a planned New York City performance and return home early. “Unfortunately I’m not going to make it to tonight’s show at Baby’s All Right in NYC,” Holiday wrote on Instagram in March. “I have spent all day detained at the Canadian border and denied entry back into the U.S. despite having the proper visa documentation in place.”

Speaking on breakfast radio, Holiday said he can’t wait to get back. “I was meant to go to Ol’ Mates [a pub connected to Aussie comedians Hamish Blake and Andy Lee], I was going to do a surprise set there and have a bunch of fun with a bunch of people,” he remarks. “I’m not at liberty to discuss such matters fully at this time… (laughs)… but what I will say, is that I love the United States. I’m gutted I couldn’t do the New York City show, and I hope to get back there soon because there is a lot of people wanting a Keli Holliday show, but I want to bring it to them, so we’ll see.”

The Keli Holiday experience continues with tour dates Down Under, the United Kingdom and Europe.

The Australian Recording Industry Association’s special 40th anniversary Hall of Fame event has a special broadcast home.

Presented Thursday, June 11 in Sydney, the special standalone event will air nationally on the Australian Broadcasting Corporation at 9.15pm AEST (5.15am ET), in what the trade body describes as an “historic first.” The show will then beam out Saturday, June 13 on the free-to-air television channel and digital live stream ABC Entertains and via the public broadcaster’s on-demand iView platform. Separately, show highlights and red carpet moments will be available across ARIA and ABC social channels.

As previously reported, the 2026 edition will break from tradition and induct six acts in total: GurrumulJenny MorrisKate CeberanoSpiderbaitThe Living End and Vika & Linda

ARIA has inducted artists into its Hall since 1988. That first class featured Dame Joan Sutherland, Johnny O’Keefe, Slim Dusty, Col Joye, Vanda & Young and AC/DC. In 2005, the trade body created a standalone ceremony ARIA Icons: Hall of Fame, when multiple acts were elevated. It was televised, it resonated with music fans, but proved short-lived as the industry struggled in a post-digital download landscape.

For 2011, the Hall of Fame induction became a spot within the ARIA Music Awards, with two new inductees. Then, from 2012, just one act has been inducted each year at the ARIAs.

Since that first class, scores of Aussie legends have got the nod, from Cold Chisel, to Kylie Minogue, Yothu Yindi, Kasey Chambers, Olivia Newton John, INXS, Crowded House, Archie Roach, Missy Higgins, Tina Arena, and last year’s inductee, You Am I.

Also announced today, May 27, Kate Ceberano, Spiderbait, The Living End, Vika & Linda, Kate-Miller Heidke, Dan Sultan and Mia Wray will perform career-defining hits at the ceremony, organizers say, while the late Gurrumul will be remembered with “a moving celebration” with family members.

Veteran broadcaster and music champion Myf Warhurst is host of the show, to be presented at Sydney’s Carriageworks on Gadigal land. “To be part of the 40th anniversary ARIA Hall of Fame is incredibly special,” Warhurst comments in a statement.

“These artists have shaped Australian culture, soundtracked generations and influenced how we see ourselves through music,” she continues. “From the power and emotion of Gurrumul, to the energy of Spiderbait and The Living End, and the iconic voices of Kate Ceberano, Jenny Morris and Vika & Linda, this is a line-up that truly reflects the depth and brilliance of Australian music. It’s going to be loud, joyful and full of unforgettable moments – exactly what the Hall of Fame should be.”

The ARIA Hall of Fame Special Event is supported by the NSW Government through Sound NSW, and assisted by the Australian Government through the Office for the Arts and Music Australia.

Meanwhile, the 2026 ARIA Awards in partnership with Spotify be presented Wednesday, Nov. 18 at Sydney’s Hordern Pavilion. The recording industry’s flagship ceremony will stream live on Paramount+ and returns to the free-to-air commercial broadcaster Network 10.

An appeals court has ruled that George Clinton must face a trial to determine whether a portion of the Parliament-Funkadelic catalog is co-owned by the heirs of late keyboardist Bernie Worrell.

In September, a federal judge in Detroit threw out the lawsuit brought by Worrell’s widow after determining that the statute of limitations had long expired. But the Sixth Circuit Court of Appeals reversed that dismissal on Wednesday (May 27), holding that it’s up to a jury to decide whether the claims are timely or not.

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“The estate has successfully pointed to facts potentially rendering this the rare case in which a copyright-ownership claim may be brought a half-century after-the-fact,” wrote a panel of three appellate judges in the ruling, obtained by Billboard.

The dispute stems from a 1976 contract between Worrell and Clinton, in which the keyboardist released his ownership stake in the P-Funk masters in exchange for recorded royalties. This led to numerous court battles over the years about how to properly split these royalties, both during Worrell’s life and after his death from lung cancer in 2016.

The pivotal moment came in one such lawsuit in 2020, when Clinton’s attorneys claimed for the first time that the 1976 deal was null and void because Clinton never signed it. This led the Worrell estate to try a new tack and file the current lawsuit, which alleges that Worrell never stopped owning his share of the masters in the first place.

According to the Sixth Circuit, it remains unclear whether the statute of limitations for these claims expired decades ago or only began running in 2020. However, the judges said a trial is only appropriate on the songs expressly covered in that contract — those created between 1976 and 1979 — and not the entire catalog from Worrell’s time in P-Funk between 1969 and 1981.

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Clinton’s lawyers had separately argued that the case should be thrown out because there’s insufficient evidence of Worrell co-creating these P-Funk songs. The Sixth Circuit rejected this too on Wednesday, saying there’s clearly enough fodder for a jury to decide otherwise.

To start, we need look no further than Clinton’s own admissions. He recognized in this litigation that Worrell ‘radically charted the course of emerging keyboard technology during the golden age of analog synthesis,’ and that he brought to the table a ‘sonic stew’ including ‘perfect pitch and a well-honed facility with a classical canon,’” wrote the panel. “These statements contradict any suggestion that Worrell was just a session player or hired hand.”

The case will now head back down to the federal district court to prepare for a trial, unless a settlement is reached. A lawyer for the Worrell estate, Richard Busch, said in a statement that the Sixth Circuit’s ruling “is a great step in the right direction.”

“Bernie Worrell was the heart and soul of Parliament-Funkadelic but had to spend years of his life chasing Mr. Clinton for what he believed Mr. Clinton owed him,” added Busch. “While he is no longer with us, Bernie’s loving wife Judie continues to fight for Bernie’s rights.”

Clinton’s attorney, Jim Allen, said in his own statement, “We respectfully disagree with the Sixth Circuit’s decision and believe it requires some unusually large leaps in logic, metaphysics and precedent to transform a disputed, judicially-invalidated 1976 agreement into a springboard for copyright claims fifty years later.”

Allen emphasized, however, that the ruling “is extraordinarily narrow” and allows for a trial on only ” a tiny fraction of the decades-long body of work George Clinton created and led.”

“We also look forward to finally litigating this case in a courtroom rather than through the fog of mythology, revisionist history and shadow-boxing conducted by interests that have been hovering around the P-Funk business empire for decades without ever quite wanting to step fully into the light,” added Allen. “The Mothership keeps flying. Trial is next. We will prevail.”

Clinton is separately suing Universal Music Group (UMG) for freezing his royalties amid the Worrell litigation. That case remains pending.


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