Christmas music may only dominate a few weeks a year, but its impact on the music business lasts for decades. Guy Moot, CEO and co-chair of Warner Chappell Music, and Carianne Marshall, COO and co-chair, join host Kristin Robinson on Billboard On the Record to break down why holiday songs are some of the most valuable assets in any music catalog, why writing a timeless Christmas hit is so difficult and how industry traditions around holiday albums have shifted from mandatory releases to strategic singles. They discuss the evolution from cover culture to artist-driven branding, the role of songwriter camps, and why evergreen holiday songs often travel further than the places they were written. From December chart freezes to the renewed push for trusted brands and long-term fan connection, this conversation explores how Christmas music continues to shape careers, catalogs and the modern music economy.

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Billboard On the Record is a podcast in partnership with SickBird Productions. 

Kristin Robinson:

Holiday records make over $177 million a year in the U.S. Not bad for a genre that comes and goes from the Billboard charts after about a month of listening. This unique seasonal genre of music has become big business, especially in our era of music streaming, where you don’t even have to buy a holiday hit in order to play it at your next Christmas party. To dive into the business of Christmas music, I’m joined today by two of the most powerful executives in music publishing, Guy Moot and Carianne Marshall, the CEO and COO of Warner Chappell. Welcome back to On the Record, a music business podcast from Billboard and SickBird Productions. As always, I’m your host, Kristin Robinson, and today on the show, we are diving into the business behind your favorite holiday hits. We all know the classics, your “Jingle Bell Rock,” your “Rockin’ Around the Christmas Tree,” “All I Want for Christmas Is You.” These songs are not just culturally relevant, but they make a ton of money in royalties year after year after year, even though most of them came out decades ago. For many, it’s seen as the ultimate evergreen hit, pun intended, but it’s not easy to mint a new holiday hit in 2025. According to Lumenate, much of the royalties from Christmas music go to a relatively small number of hit songs. The money and the listenership is more concentrated with the top Christmas hits than it typically is in other genres. For example, in 2023 the top 50 holiday recordings accounted for 35% of all holiday streaming. Compare that to the top 50 pop tracks, which only accounted for 12% of all pop streaming. So it’s clear that basically, Christmas music is go big or go home. 

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Survivor fans had to wait a bit longer on Wednesday night (Dec. 17) to see the trailer for the eagerly anticipated 50th season of the reality challenge show due to Donald Trump’s last-minute prime-time address, but the wait was well worth it.

The nearly three-minute trailer for the season bearing the theme “In the Hands of the Fans,” aired after the season 49 finale, featuring first looks at the return of White Lotus creator Mike White — who previously came in second on 2018’s season 37 Survivor: David vs. Goliath — as well a tease of a drop-in from country star Zac Brown, who is seen walking up the beach with a giant fish slung over his shoulder.

The preview also revealed that the upcoming season will feature something called a “Billie Eilish Boomerang Idol,” a totem named in honor of the Oscar- and Grammy-winning pop superstar, while also hinting at visits from YouTube sensation Mr. Beast and a tease from fellow David vs. Goliath season contestant Christian Hubicki that Tonight Show host Jimmy Fallon “may decide my fate in this game.”

Though it’s unclear what role Eilish will play on the show, the “Birds of a Feather” singer is definitely a fan. Back in 2023, Eilish, who sang “I put on Survivor just to watch somebody suffer/ Maybe I should get some sleep,” on her 2022 song “TV,” told Variety that she’d totally be down to compete. “I think that the physical stuff, I’d be great at,” she said at the time. “But you have to do math and s–t, and I would not be good at.”

“Feel a little like a high school reunion meets… a massacre,” a smiling White predicts. The usual trash talk was also in the offing, with season 46 alum Q Burdette cranking up the drama before a single tribal council, warning, “Make no mistake about it, I’m thinking about winning. I’m ’bout to cancel everything that you can cancel — your Christmas, your vacation, your doctor’s appointment.”

Before the most recent season began, host Jeff Probst revealed that the 50th would feature a new twist allowing fans to decide key game elements, including immunity idols, advantages and the fire-making challenge. Survivor season 50 will premiere on Feb. 25 on CBS.


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Wilco‘s annual eclectic Solid Sound Festival has revealed the full line-up for the 2026 edition at the Mass Moca museum in North Adams, Mass., a three-day event (June 26-28) that will feature headlining sets from the hosts, as well as performances from the Breeders, Gang of Four, Billy Bragg, Ryan Davis & the Roadhouse Band, Rich(ard) Dawson, S.G. Goodman, L’rain, Mini-Mekons (featuring Sally Timms and Jon Langford), Sharp Pins and Nels Cline’s Consentrik Quartet.

Most exciting for the host band’s longtime fans, next year’s festival will feature the first-ever live joint performance of Wilco and Bragg’s beloved two-volume set of Woody Guthrie songs on Friday night, dubbed “Way Over Yonder in the Minor Key: Wilco and Billy Bragg Perform the Songs of Mermaid Avenue.” The first volume, 1988’s Mermaid Avenue, featured the two acts collaborating to bring to life previously unheard lyrics written by folk icon Guthrie, which the unlikely pair turned into such beloved tracks as the gentle ballad “California Stars,” the rocking “Hoodoo Voodoo” and the moving “At My Window Sad and Lonely.”

A second album, Mermaid Avenue Vol. II, was released in 2000 and featured a take on a 19th century gospel standard, “Blood of the Lamb,” as well the playful “My Flying Saucer,” swaying “Secret of the Sea” and the fiery “All You Fascists.” Both albums were critically acclaimed, but Wilco and Bragg never toured the collections.

As usual, Solid Sound will feature multiple headlining sets from Wilco and its band members in various independent and solo configurations, as well as Elizabeth Moen, The Messthetics and James Brandon Lewis, George, Souled American, Autumn Defense, Living Hour, Setting, RESPIRA, Prewn, Official Claire, Expandards and more.

The event will also host comedian John Hodgman’s Comedy Cabaret, with sets from Jo Firestone, Demi Adejuyigbe and the Daily Show‘s Jordan Klepper, as well as poster silk screening demos with Ghost-Town and a screening of a new documentary about jazz pianist/producer Bob James from Wilco keyboardist Mikael Jorgensen.

In addition to folk, rock, jazz and experimental music, Solid Sound will also host yoga, nature hikes, pop-up record stores, children’s programming and access to the museum’s galleries, which feature work by Laurie Anderson, Louise Bourgeois, James Turrell and Sol LeWitt, among others.

Tickets for the 2026 Solid Sound can be found here. Check out the full lineup on the poster below.


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LONDON — PPL (Phonographic Performance Limited) revealed on Wednesday (Dec. 18) that it has paid a total of £277.7 million ($369 million) to performers and recording rights holders in 2025.

The collection society distributes royalties in the U.K. and internationally on behalf of tens of thousands of recording rights holders and performers, including artists such as Cat Burns, Lewis Capaldi, Charli xcx, Dua Lipa, and the estate of John Lennon.

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The total comes following its final payment distribution of the year of £54.3 million ($72 million) in Q4 to 147,000 performers and recording rights holders, either as direct members of PPL or indirectly through other collective management organizations (CMOs). This is a 16% increase over 2024’s final quarter total of £45.3m ($33 million).

PPL works with a number of CMOs globally to collect royalties for its artists when their music is performed in public, or on television and radio. 2025 has seen a bumper year for British and Irish musicians with success for Olivia Dean, Yungblud, Lola Young and more and a renewed passion for the scene’s musical output internationally.

The firm says that improved data processes, particularly in Denmark, Germany and the U.S. have resulted in the rising figures, and highlighted significant lifts in payment from Belgium, as well as strong returns from Hungary, Romania and Spain. 

Peter Leathem OBE, chief executive at PPL said: “I am pleased to close the year with such a strong payment to performers and recording rights holders in the UK and beyond. My thanks to all the PPL team who work to deliver this positive outcome, as well as all of the CMOs around the world with whom we collaborate on collections, data and technology developments. All of which is making the movement of payments around the world ever more effective and efficient for our members.” 

Shamus Damani, consultant Director of Business Affairs, Defected Records Limited added: “This year I believe PPL has delivered its largest international Q4 payment to recording rights holders, helping to ensure that music continues to be a sustainable career choice for both performers and recording rights holders. It is clear from these figures that PPL continues to bring tremendous value to the music industry, and our collaboration with them plays a major part in the continued success of our business.”


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A massive New Year’s Eve party planned for Sydney’s Bondi Beach has been canceled following the mass shooting last weekend.

Elrow XXL Bondi Beach was pitched as Sydney’s largest NYE party and the “soundtrack to farewell 2025,” featuring exclusive performances from HoneyLuv, Kölsch, TSHA, William Kiss and more, and a special countdown set from Patrick Topping.

Organizers expected 15,000 revelers to visit Australia’s most iconic shoreline, to see in the new year, the 25th since Fuzzy opened for business.

However, following the tragic events that unfolded last Sunday, Dec. 14, organizers Fuzzy have scrapped the show.

“Our hearts are with everyone affected by the tragedy at Bondi Beach. What happened has deeply shaken our community and all who call this place home,” reads a statement from Fuzzy, the organizers of Field Day, Harbourlife and more.

“We have been working closely with Waverley Council over the past couple of days, focusing on compassion and care for Sydney’s Jewish community and all those impacted, allowing NSW Police to further progress their investigations.”

As a result, elrow Bondi Beach XXL and Locals Lawn Family Zone will not be going ahead.

All ticketholders have now been contacted via email and elrow Bondi Beach XXL ticketholders will receive an automatic full refund, processed back to their original payment method within seven business days.

“Our team includes many who live in and love Bondi. We built these events to reflect everything Bondi stands for: community, coming together, joy, connection and inclusivity. We know thousands from our community, Australia, and abroad were looking forward to seeing New Year’s Eve return to Bondi Beach for the first time in over a decade, but in Bondi we look out for each other, especially in moments of heartbreak,” reads the statement from Fuzzy, part of Superstruct Entertainment. “When the time is right, we will come back together with the same spirit of care, connection and joy that defines us.”

The country has been in a state of mourning following the attack, when two gunmen fired weapons at a Hanukkah celebration, in what would become Australia’s worst mass shooting since the Port Arthur massacre in the 1990s. The death toll has risen to 16, including one of the suspected gunmen, who was killed at the scene.

Australia’s prime minister Anthony Albanese described the attack as an act of antisemitic terrorism and the New South Wales Parliament will be recalled in the week before Christmas to tighten gun and protest laws.

Funnyman Nate Bargatze receives the SoundExchange Hall of Fame Award, becoming the first spoken word artist to do so.

With the award, Bargatze, a SoundExchange member since 2012, is recognized as one of the most-streamed comedians in the organization’s 20-plus year history of administering digital performance royalties.

“It meant the world to me to be the first comic awarded this recognition,” comments Bargatze, who hosted the 77th Primetime Emmy Awards in September on CBS. “I have been such a proponent of SoundExchange throughout my career and I didn’t realize this award was even possible! This is a really, really special honor. Thank you.”

The comedian, actor, producer, and New York Times Best-Selling author had them rolling in the aisles this year with his Big Dumb trek, which topped Billboard Boxscore results for a comedy tour over several months.

More dates are scheduled on the Big Dumb Eyes World Tour, picking back up in January with shows currently scheduled throughout North America through August 2026.

“Nate Bargatze has an extraordinary gift for turning life’s simplest moments into unforgettable comedy with a delivery that feels effortless and genuine,” enthuses Michael Huppe, President and CEO of SoundExchange. “His storytelling reminds us that the funniest parts of life are often the ones we overlook. We are immensely proud to honor Nate Bargatze with the SoundExchange Hall of Fame Award.”

With his elevation, Bargatze joins Hall of Fame inductees Billy Joel, Janelle Monáe, Carrie Underwood, Mariah Carey, Marc Anthony and others.

“From digital streaming platforms to sold-out arenas,” reads a SoundExchange post on Bargatze’s honor, “thanks for bringing laughs and smiles to audiences all over.”

Since 2003, SoundExchange has collected and distributed more than $12 billion in digital performance royalties to date on behalf of more than 700,000 music creators. In addition to U.S. non-interactive streaming royalties, the organization notes, Bargatze is among upwards of 474,000 artists and rights owners who’ve tapped SoundExchange to collect their international royalties.

Role Model gets his skates on for the National Hockey League’s premier outdoor game.

The rising alternative-pop artist will headline the entertainment for the 2026 Discover NHL Winter Classic at loanDepot park in Miami, FL, set for Jan. 2, 2026.

On the day, two-time defending Stanley Cup champion Florida Panthers will host the New York Rangers, with all the action televised live at 8 p.m. ET on TNT and HBO Max in the United States, and on Sportsnet and TVA Sports in Canada.

According to a statement from the league, Role Model will lead the first intermission, presented by Ticketmaster, with a performance from his hit sophomore album Kansas Anymore (The Longest Goodbye).

Before that, he’ll open NHL on TNT’s live on-site coverage with a performance on the Verizon Stage at the 2026 Enterprise NHL PreGame, the 2026 Discover NHL Winter Classic gameday fan festival, which welcomes ticket holders for the annual NHL Winter Classic — the first to be played in Florida.

Role Model (real name: Tucker Pillsbury) enjoyed a breakthrough this year when he topped a songs-based Billboard chart for the first time, leading the Sept. 13-dated Adult Alternative Airplay tally with “Sally, When the Wine Runs Out,” housed by Kansas Anymore.

Earlier, in August, the Cape Elizabeth, Maine, “Sally” went to No. 1 on the Emerging Artists tally.

Following the March release of Kansas Anymore, Role Model signed with the Good World Management’s Brandon Creed and Dani Russin; opened on tour for Gracie Abrams; and celebrated two sold-out shows in Los Angeles, one of which saw Reneé Rapp join him on stage as a surprise guest during “Sally.”

He’ll make his acting debut in the Lena Dunham-directed Netflix romcom Good Sex, starring Mark Ruffalo and Natalie Portman, the release date for which hasn’t been announced.

The Winter Classic was established in 2008 as a regular-season outdoor game to celebrate the New Year, and has featured performances by the likes of Weezer, Chance The Rapper, The Smashing Pumpkins, Heart, the Black Keys and many others.

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Duran Duran and its founding keyboardist Nick Rhodes have remembered the late fashion designer Antony Price as an “important collaborator from the very beginning,” and a “visionary” who played an important part in the band’s look and iconic music videos.

A maverick British designer who also shaped the style of David Bowie, Roxy Music, Mick Jagger, and more recently, Queen Camilla, Price died on Wednesday, Dec. 17, at the age of 80.

In a post penned by Rhodes, and shared on Duran Duran’s official social channels, the British musician recounts how Price paired vision with “extraordinary technical skills. Nobody did glam better than Antony.”

Perhaps most significantly for the Rock Hall-inducted band, Price “conceived and designed all of the pastel colored silk suits we wore in the ‘Rio’ video,” the title track from the band’s celebrated sophomore album.

“His distinctive creations were unique and striking,” writes Rhodes. “Whilst he rarely received the recognition he deserved from the fashion media, his notable clientele and many other designers all knew Antony was a genius, a cut above the rest.”

Born in Keighley, Yorkshire in 1945, Antony Price studied at Bradford School of Art and, later, the Royal College of Art’s Fashion School, graduating in 1968. The following year, in 1969, Mick Jagger wore a pair of his body-hugging trousers for the Rolling Stones’ Gimme Shelter tour of the United States, marking the first time his designs had been worn by a rock star.

The music community loved his work.

Price would go on to style all eight of Roxy Music’s album covers, and designed the t-shirt that appears on the back cover of Lou Reed’s 1972 classic album Transformer. Roxy Music frontman Bryan Ferry described Price as “a master craftsman” and “one of the most remarkably gifted people I have ever met.”

Like many of the chameleonic artists he worked with, Price’s talents couldn’t be stifled. He was adept at expressing his art with womenswear, working with the likes of Kylie Minogue and Jerry Hall, who wore a Price wedding dress when she married Mick Jagger.

“He never failed to deliver,” writes Duran Duran’s Rhodes. “His swan song fashion show, just a few weeks ago was as spectacular and relevant as the first one I ever saw.”

More than all of this, he writes, “Antony was a loyal, kind, intelligent and razor-witted, friend.”

As Australia processes the shock of Sunday’s mass shooting on Bondi Beach, John Williamson has used song to help heal the nation.

The ARIA Hall of Fame-inducted singer, songwriter and “bush music” legend sang “True Blue” for a full house at Adelaide Oval on Wednesday, Dec. 17, in dedication to the victims of the massacre.

The powerful musical moment happened prior to day one of the third Test cricket match in the 2025-26 Ashes Series between Australia and England at Adelaide Oval.

Williamson later remarked that he “was so relieved and so honored” to perform the song in remembrance to those whose lives were lost.

Speaking with the Australia Broadcasting Corporation (ABC), Williamson said he canceled his Christmas holiday plans on the Gold Coast to dash to the South Australian capital. “It’ll be one of the most memorable occasions for me in my career,” he tells the ABC. “I was sort of waking up this morning thinking, was it a dream? That’s how incredible it was for me.”

He added, “for me to perform it, I really had to be a professional and do the job that I had to do. I didn’t allow myself to be too emotional. I just wanted to make sure that I sang it strongly. Because I knew what I was doing (was so important).”

In a career spanning more than 50 years, the 80-year-old has sold more than 5 million albums and accumulated upwards of one billion streams. Over time, he has collected 28 Golden Guitar awards, four ARIA Awards, and on Australia Day 1992, was made a Member of the Order of Australia (AM) “for service to Australian country music and in stimulating awareness of conservation issues.” Williamson performed at the opening ceremony of the 2000 Sydney Olympic Games and in 2010 he was inducted into the ARIA Hall of Fame.

Since its release in 1982, “True Blue” song has become part of the fabric of Australian culture, and is regularly played at sporting events and ceremonies, including Steve “Crocodile Hunter” Irwin’s public memorial service, where he performed it twice on acoustic guitar, and for the funeral of Williamson’s late “mate,” the broadcaster John Laws.

Williamson has, in the past, called “True Blue” a “song for all Australians.”

The country has been in a state of mourning following the attack, when two gunmen attacked a Hanukkah celebration. The death toll from the attack has risen to 16, including one of the suspected gunmen, who was killed at the scene.

Australia’s prime minister Anthony Albanese described the attack as an act of antisemitic terrorism and the New South Wales Parliament will be recalled in the week before Christmas to tighten gun and protest laws.

Jane’s Addiction frontman Perry Farrell and his bandmates are making peace amid a messy legal battle stemming from an onstage brawl last year, publicly apologizing to each other and saying they’ll now focus on “separate musical and creative endeavors.”

Farrell posted a contrite Instagram statement on Wednesday (Dec. 17), while Jane’s Addiction guitarist Dave Navarro, bassist Eric Avery and drummer Stephen Perkins simultaneously extended an olive branch on the band’s official page. The trio had sued Farrell in July for assaulting Navarro during a Boston show in 2024, and Farrell hit back with a lawsuit of his own that accused his bandmates of bullying him and spreading a false narrative about the incident.

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There’s no word yet of an official settlement ending the dueling lawsuits, though court documents say the band members participated in a mediation session last month. The language of the Instagram posts suggests a reconciliation — and seems to confirm that Jane’s Addiction is no more.

“Today we are here to announce that we have come together one last time to resolve our differences, so that the legacy of Jane’s Addiction will remain the work the four of us created together,” reads the post on the band’s page. “We now look forward to the future as we embark on our separate musical and creative endeavors. Jane’s Addiction will forever live in our hearts.”

In another sign that a settlement could be on the horizon, both of these Instagram posts apologize for key allegations in the legal feud. Farrell, for his part, says he’s “truly sorry” for the September 2024 incident on stage, during which Navarro claims the lead singer punched him unprovoked.

“I’ve reflected on it and know I didn’t handle myself the way I should have,” writes Farrell. “I apologize to our patrons and my bandmates for losing my temper and disrupting the show.”

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In his counter-lawsuit, Farrell had accused his bandmates of canceling the rest of the 2024 tour without his input and unfairly making him the “scapegoat” for their lost profits. Navarro, Avery and Perkins address this in their Instagram post, too.

“We would like to clarify the events surrounding the cancellation of the tour after the show in Boston in September 2024,” write the band members. “After that show, without notice to Perry, we unilaterally determined it would be best to not continue the tour and made inaccurate statements about Perry’s mental health which we regret.”

Legal reps for the band members did not return requests for comment. Their attorneys are currently scheduled to appear before a judge for a case update next month.

The onstage brawl in Boston, which went viral thanks to a fan video, was a key inflection point derailing Jane’s Addiction’s first tour as a full group since 2010. They were working at the time on a new album under a distribution deal with Warner Music’s ADA. It now appears unlikely that the project will be completed.


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