Music City and Capitol Hill came together Wednesday night as the RIAA Honors saluted leaders in Christian and gospel music, as well as two senators who have led the fight to protect creators’ rights.

Though it may be a fractious time in Washington, D.C., as the government shutdown and partisan discord continues, there was nothing but good vibes and glorious music at the Recording Industry Association of America’s headquarters.

“RIAA Honors recognizes artists, industry leaders and policy makers who have made important contributions to American culture,” said RIAA chairman/CEO Mitch Glazier, at the packed event. “Over the past few years, we’ve honored pioneers of country music, hip-hop and Latin music, and tonight, we come together to celebrate pioneers in one of music’s most important and meaningful genres: Christian and gospel music.”

At the event, sponsored by Billboard, the RIAA recognized platinum contemporary Christian artist Lauren Daigle as artist of the year, while Nashville-based executives Jackie Patillo, president of the Gospel Music Association and GMA Foundation, and Ed Leonard, president of Daywind Music Group and an executive committee member of the GMA, were honored as industry executives of the year. Senators Marsha Blackburn (R-TN) and Chris Coons (D-DE) were celebrated as policymakers of the year.

Morna Willens, RIAA’s chief policy officer, cited the many pieces of legislation that Blackburn has been behind, as much of her constituency in Tennessee includes the creative community in Nashville. “You want her in your corner when things are rough, and her record from the Music Modernization Act to the NO FAKES Act to her defense of Tennessee’s rights to protect the citizens from AI abuses speak for itself,” Willens said.

Blackburn took the stage and joked that “In Nashville, I can’t go to church, I can’t go to one of the kids’ games, I can’t go to the mailbox, I can’t go out for a walk without seeing somebody that’s a singer, a songwriter, a record producer.” She added that when she first came to D.C. as a U.S. representative, she was surprised to realize “not everyone had an appreciation for the role that intellectual property and the protection of that intellectual property [plays and] why it is so important,” adding, “It is the basis on which so many people make their living.” 

She mentioned a number of other pieces of legislation she has championed, including 2006’s Songwriters Capital Gains Tax Equity Act and the newly introduced CREATE Act, as well as gave a shout-out to Coons and Senators Amy Klobuchar (D-MN) and Tom Tillis (D-N.C.) for their co-sponsorship of the NO FACTS Act, which protects artists and minors against unauthorized AI deepfake impersonations, before concluding, “In other words, we’ve got your back and we’ve got you covered, and it is truly an honor to do that for you.”

Next, Willens lauded Blackburn’s NO FACTS Act co-sponsor Coons as someone who “has earned his colleagues’ respect, on both sides of the aisle, as a principled, substantive and pragmatic leader,” as well as praised his championing of such momentous legislation as the CLASSICS Act and the Music Modernization Act.

Coons noted that protecting music creators is close to his heart: His step-brother has recorded seven albums and his half-sister is an opera singer. He thanked Blackburn for her partnership, stressing the importance of bipartisanship. “At a time when — you might have heard this — there’s division in Congress, it is so wonderful to be able to reflect back what music does for all of us, which is to bring us together and to find common solutions to the challenges that face singers, songwriters, publishers and producers, the whole creative community,” he said. Turning to the NO FAKES Act, he added, “I’m confident, optimistic that we will get it through Congress and to President Trump’s desk this year to protect your voice, your face, your likeness and your music.”

Moving to the industry executives of the year, a video featuring top gospel and Christian artists For King + Country’s Joel Smallbone, Natalie Grant and Jekalyn Carr saluted Patillo, who many of the artists have known for decades — including Grant, who thanked Patillo for signing her when she was a label executive and for introducing her to her husband. Carr thanked her for her “contribution to gospel music” and for “God trusting you with the assignment” to protect and spread gospel music.

Michele Ballentyne, RIAA’s president and chief operating officer, shared seeing firsthand the unifying impact Patillo has had on the gospel community, calling her “a force of nature,” and noting that she has proven to be such a leader that the GMA even named its leadership award after her.

A humble Patillo spoke briefly, praising God’s plan for her, despite her doubts. “I am so grateful that God chose me,” she said. “Every time I’ve wrestled with Him and said, ‘But I’m not qualified,’ He said, ‘Trust me.’ And I’ve never done anything other than facilitate the creation and the furtherance of Christian and gospel music. So I’m honored to be at the table with Mitch and to be able to represent the gospel music trade association at the table for advocacy of all of our intellectual properties.”

Similarly to the video saluting Patillo, an artist package for Leonard featured gospel icon CeCe Winans, Joseph Habedank and Karen Peck of Karen Peck and New River, who noted, “Ed’s vision, integrity and dedication have not only strengthened Daywind, but also enriched the entire Christian and gospel music industry. His leadership has guided artists, writers and labels through seasons of change with wisdom and grace, while his advocacy has ensured that creators are valued and protected.”

Ballentyne recited a litany of music industry organizations that Leonard either leads or is a member of, adding, “I doubt there is a more experienced or accomplished executive out there in the genre.”

Leonard used most of his speech to praise others, including Patillo, whom he said took the GMA “from the ashes to the pinnacle,” and thanked both the RIAA staff and Senators Blackburn and Coons for “saving culture by saving music.” But his most touching moment came when he teared up as he thanked Daigle for her music. He recalled that one of his children, upon finding out he was being honored along with the singer, said, “’You know, Dad, her music got me through some of the toughest times in my life over the last five to 10 years,’ and to be able to say thank you to you publicly is something that is very special to me.”

That sentiment led beautifully into the artist of the year presentation honoring Daigle, which kicked off with a performance by Jon Batiste, who called Daigle “a light in the world. And in these times, we need beacons of light to lead us home,” he said. “You exist in the truth the way that God made us to be, and your music is a reflection [of that.].”

Appropriately, Batiste, seated at a grand piano, then launched into an effervescent, jazzy version of the children’s song and later Civil Rights Movement anthem “This Little Light of Mine.”

Glazier then addressed Daigle, who has more than 20 million units certified by the RIAA and is a two-time Grammy winner, eight-time Billboard Music Awards winner and 12-time GMA Dove Awards winner. “She’s been an unparalleled ambassador for Christian music, growing the genre and reaching new generations, embraced by fans in countries around the world, and proving over and over again that powerful, unapologetic Christian music reflects just as much talent, commitment and musical craft as the biggest hits of any genre ever recorded,” he said, before thanking her for her support of the NO FAKES Act, as well as her work with the International Justice Mission to support the  STOP CSAM Act, which addresses online child exploitation and human trafficking.

Daigle, with her father in the audience, spoke of the power of music. “I’m so grateful that music is this bonding agent in a time of division, right?,” she said. “We get to all sit and listen to songs together, and in the process of doing that, we see the world become one. We see the world become whole again, even if it’s for but a moment, and that, to me, is so beautiful.” Admitting she suffered from imposter syndrome and felt that she didn’t deserve the honor, she turned her praise to Jesus. “He is for me. He is not against me. He is for you. He is not against you. And to receive a gift that you don’t deserve, but that you feel so deep to represent that around the world, is the highest of honors,” she said.

Then she let her music do the talking, launching into a heartfelt, beautiful rendition of “You Say,” her 2018 breakthrough hit that spent a record 100 weeks at No. 1 on Billboard’s Hot Christian Songs chart, the first time a song had reached that milestone on any of Billboard’s “Hot” charts. She and Batiste then came together to perform an emotional version of “Be Okay,” a song she wrote with Ellie Holcomb inspired by a terminally ill fan who asked Holcomb how to die. Their voices, separately and together, soared through the room, ending the evening on a high note and proving definitively the power of music that so many in the room are fighting to protect.

If Ashley Padilla has anything to say about it, Brandi Carlile will host this weekend’s Saturday Night Live instead of Miles Teller.

In just-released promos for this weekend’s episode, Padilla brings up her brand-new haircut — and she explodes on Teller for not noticing. “I got a haircut, and you haven’t said anything about it!” Padilla yells at the Top Gun: Maverick actor. “Yeah, sorry, I think I didn’t notice, Ashley, because we’ve never met before,” Teller responds.

But guess who did notice? Eleven-time Grammy-winning singer/songwriter Brandi Carlile. “I noticed. The second I saw you, I knew you had that new-haircut glow,” Carlile says. “Thank you, Brandi Carlile! You’re the host now,” Padilla says matter-of-factly, to which Carlile celebrates with a “Yesssss.”

“She’s joking, right?” Teller asks. But Dismukes assures the actor she’s dead serious. “I hope you can sing,” she threatens, and Teller gives a shrug: “I can sing.” (We know that at least Keith Urban agrees: Back in 2016, the country star invited Teller onstage to duet on The Temptations’ “My Girl” during an Albuquerque, New Mexico, concert.)

Watch all the new promos below:

Saturday’s episode will mark Carlile’s fourth time as a musical guest on SNL — and her second time this year. She joined Elton John on the stage back in April to perform songs from their joint album Who Believes in Angels? This time around, she’s promoting her just-released solo album Returning to Myself.

This will be Teller’s second hosting gig after he made his debut in 2022. He’s hitting the show ahead of the premiere of his sci-fi rom-com Eternity, co-starring Elizabeth Olsen and Callum Turner, which arrives Nov. 26 in theaters.

Saturday Night Live airs at 11:30 p.m. ET/8:30 p.m. PT on NBC and streams on Peacock. (See all the options to watch SNL here.)

A Korean court has rejected NewJeans’ attempt to break away from its label ADOR, dealing a major victory to the HYBE subsidiary in its closely-watched legal battle with the chart-topping K-pop group.

The five members of NewJeans — Minji, Hanni, Danielle, Haerin and Hyein — have been fighting since last November to leave ADOR and make music independently under the moniker NJZ. The women claim ADOR broke their trust with the controversial dismissal of their mentor, former CEO Min Hee-jin.

However, ADOR has argued that NewJeans’ 2022 exclusive contract bars any independent activities until 2029. A legal battle ensued and, after months of back and forth, a Korean court sided with ADOR on Thursday (Oct. 30).

According to Korean news reports, a judge in the Seoul Central District Court ruled that Min’s termination was not sufficient grounds for NewJeans to void its seven-year contract with ADOR.

“Nowhere in the exclusive contract is it stated that ADOR must entrust the management duties for NewJeans to Min Hee-jin,” wrote Presiding Judge Jeong Hoe-il, according to the Chosun Daily. “Merely the fact that NewJeans personally places high trust in Min Hee-jin does not make guaranteeing her the position of ADOR’s CEO a significant obligation under the exclusive contract.”

In an official statement on Thursday, ADOR expressed “deep gratitude for the court’s decision.”

“We sincerely hope that today’s judgment, which comes after long-term verification of various claims and facts and reaffirms prior rulings, will serve as an opportunity for the artists to calmly reflect on this matter,” said the label. “ADOR is committed to re-emphasizing its role and responsibilities as NewJeans’ management agency. As we stated during the trial, we have completed preparations for the artist’s activities, including the release of a studio album, and are waiting. We will do our utmost to return to the fans through discussions with the artist.”

The NewJeans members, meanwhile, put out a statement through their lawyers saying they plan to appeal the decision.

“NewJeans members respect the court’s judgment, but it is impossible to return to this company and continue normal entertainment activities in the current situation where the trust relationship with ADOR is completely shattered,” said the law firm Shin & Kim, as reported by the Korea Times.

NewJeans’ legal battle with ADOR has captivated the K-pop world, where companies like HYBE hold immense power and artists rarely speak out against their labels.

The group found global success in 2023 with the EP Get Up, which debuted at No. 1 on the Billboard 200 and spent 26 weeks on the chart. The album’s lead single, “Super Shy,” peaked at No. 2 on the Billboard Global 200.

Udio’s licensing deal with Universal Music Group (UMG) has prompted backlash from users angry that the AI platform abruptly disabled downloading — and some are already floating the idea of legal action.

The landmark deal, announced on Wednesday (Oct. 29), ends UMG’s involvement in copyright litigation against Udio and lays the groundwork for a new version of the platform trained on licensed music. The catch: Udio will now be a “walled garden” in which users can only stream their AI creations on the platform, with no ability to export and distribute their works.

While this new version of Udio isn’t launching until 2026, the company immediately disabled all downloading on Wednesday — a move that has many users up in arms, especially on the r/udiomusic Reddit page.

“This feels like an absolute betrayal,” wrote one Reddit user.

“I’ve spent hundreds of $$$ and countless hours building tracks with this tool,” wrote another. “No one warned us that one day, we wouldn’t even be able to access our own music. You can’t just pull the plug and call that a ‘transition.’”

Udio offers both monthly and annual subscription plans. A Standard plan costs either $10 per month or $96 billed annually, and a Pro plan comes out to either $30 per month or $288 a year.

One unlucky Reddit user commented on Thursday (Oct. 30) that they paid for an annual subscription the day that Udio announced the UMG deal and took away download capabilities.

“I’m absolutely livid,” the user wrote. “The sole reason I paid for the service was to produce music to soundtrack short films for the students in my high school media class. Now no downloads?? This is the worst and most disgusting fraud I have ever seen. I don’t even care about the music, I just want my money.”

In a statement to Billboard on Thursday, an Udio spokesperson said that disabling downloads is “a difficult but necessary step to support the next phase of the platform and the new experiences ahead.”

“We hate having to remove this functionality and did not make the decision lightly,” said the spokesperson. “To ease the transition, Udio is adding 1,200 credits to all Pro and Standard plans, increasing the Pro plan’s song creation limit to 10, and providing all subscribers with a one-time bonus of 1,000 non-expiring credits.”

On Reddit, Udio users are already chatting about potential recourse. Some comments say disgruntled users should ask Udio directly for refunds, while others suggest that individuals who’ve recently bought subscriptions contact their banks to cancel the charges.

Elsewhere on the Reddit page, as well as on other social media platforms like LinkedIn, users are floating the idea of litigation.

“What you have committed is fraud. Just so you understand,” wrote one user. “You may not feel any legal ramifications immediately, but not everyone who used your platform is without resources.”

Numerous accounts have been posting Udio’s terms of service and encouraging others to send emails to the company formally opting out of provisions that could limit their legal options — namely, a clause requiring that all claims be brought in private, individual arbitration rather than in public court as a class action.

While Udio’s terms of service do indeed allow users to opt out of mandatory arbitration, opt-out notices must be sent within 30 days of registering for the service. “Otherwise, you shall be bound to arbitrate disputes on a non-class basis in accordance with these terms,” the fine print reads.

Whether ultimately brought in arbitration or in a courthouse, there are a number of potential legal claims that disgruntled Udio users might assert. There could be arguments made that disabling downloads constituted a breach of the subscription contract that Udio signed with users, or that Udio falsely advertised its services in violation of consumer protection laws. Just last year, Amazon Prime users brought such claims over changes to the cost of ad-free movie and TV streaming for subscribers.

Whether such legal claims could actually be successful, however, would depend on a judge’s interpretation of the fine print in Udio’s subscription agreement. The Amazon case, for example, was dismissed this summer after a federal judge found that Prime subscription contracts are written to give the retail giant leeway to change the terms.

Luis Figueroa reclaims his place at the summit on Billboard‘s Tropical Airplay chart as “Como Se Compara” ascends from No. 3 to the top of the chart dated Nov. 1.

“‘Como Se Compara’ is a very special song for me, and seeing it become my third No. 1 on Billboard’s Tropical Airplay chart fills me with gratitude,” Figueroa tells Billboard. “Salsa has been an important part of my journey, a way to connect with my people and my roots. Every step I take reminds me why I love what I do and how much I owe to the people who feel my music.”

“Como Se Compara” rises with 6.7 million audience impressions in the United States during the tracking week ending Oct. 23, according to Luminate, a 17% increase compared to the previous week.

The track earns Figueroa his third Tropical Airplay No. 1 out of 14 chart entries since his debut in 2021. His previous chart-toppers are “Bandido,” which spent two weeks at No. 1 in October 2023, and debut entry “Hasta el Sol de Hoy,” a one-week leader in July 2021.

“Thank you to Puerto Rico, my home, for always inspiring me,” Figueroa adds. “Thank you for letting my music accompany you, because nothing compares to that love.”

With the third single from his EP Gris, Figueroa also earns his best rank on the overall Latin Airplay chart, where the song flies 9-2. It also ascends to a new No. 9 high on the streaming-, airplay- and sales-based Hot Tropical Songs chart.