Executive Turntable: Triples Is Best at BMI, Plus Wasserman Gets Innovative Across Platforms

While headlines from California, D.C., India and Iran have dominated a chaotic news cycle this week — plus add in a restructuring at MCA and the loss of two stone cold icons — the music industry has actually had a meh few days when it comes to promotions and new hires. So without any further delay here’s the latest edition of Executive Turntable.

BMI‘s board of directors has voted to keep president and CEO Mike O’Neill on for three more years, through Dec. 31, 2029. O’Neill has been with BMI, one of the most dominate performing rights organizations (PROs) in the U.S., for the last 30 years, and since taking the helm as president and CEO, O’Neill has guided the company through some of the biggest business changes in its history. This includes its 2024 sale to New Mountain Capital, its move to for-profit status, and its partnership with Music Nation to establish a licensing infrastructure in the UAE. “I have never been more optimistic about the future of BMI, and there are only greater things ahead,” O’Neill added. “BMI’s mission to drive value for our affiliates, increase our distributions and ensure the long-term success of our family of songwriters, composers and publishers continues at full speed.”

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Wasserman elevated Shelley Pisarra to chief insights and innovation officer, reporting to COO Darrell Coetzee. Previously evp of global insights, Pisarra will now lead the company’s strategy and innovation platforms, aiming to fuel growth across sports, music and entertainment. Based in NYC, Pisarra’s new role includes expanding Wasserman’s product offerings and creating proprietary tools to drive revenue for talent, brands, and rights holders. With over 25 years of experience across sports, media, and consumer goods — including positions at PepsiCo, Novartis, Nestle and Bristol-Myers Squibb — Pisarra has played a key role in transforming Wasserman’s insights capabilities through data analytics, consumer profiling, and fan segmentation. “I’m thrilled to step into this role, as Wasserman continues to demonstrate our commitment to putting insights to work to best serve our clients, while anticipating what’s next for the fan at the intersection of sports, music, and entertainment,” said Pisarra.

NASHVILLE NOTES: FEM co-owner Leslie Fram was named governor of the Recording Academy’s Nashville Chapter … Artist management company Make Wake Artists launched an in-house digital strategy department. The new department is led by Jess Keifer (head of digital marketing and social strategy) and Kyle Jonas (artist strategy and management coordinator). Make Wake Artists’ clients include Luke Combs, The Castellows, The Wilder Blue, Brent Cobb and Cooper Alan.

Centricity Music promoted four team members to vice president roles, highlighting the Nashville-based Christian label’s growth. Matt Ewald is now vp of A&R, Kris Love becomes vp of promotions, Joshua Wurzelbacher advances to vp of creative and Michael Pons is promoted to vp of finance. These promotions follow five earlier ones this year, with all four individuals having advanced internally since joining between 2013 and 2020. “Centricity has grown over the years in terms of artists, writers and employees,” said Caren Seidle, CEO. “This growth has led to increased responsibilities and work load of our staff. These promotions recognize the leadership these employees provide to their departments consistent with the high level of service for which Centricity is known.”

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RockForce, a provider of workforce and production solutions for the live industry, opened a new office in Nashville to support regional productions. The office includes RockForce divisions The Production Collective and Collective Payroll. Jeremy Young, the company’s evp of business development, has also been named vp of operations for the new location. With nearly 30 years of experience in artist management, touring, and commercial leadership, Young began his career at SFX/Clear Channel Entertainment and has worked with artists like Maroon 5 and Gavin DeGraw. He later managed DeGraw’s career and led national sales for CAPS/Cast & Crew before joining RockForce. “RockForce is experiencing meaningful and sustainable growth, and I’m thrilled to be part of it,” said Young.

RADIO, RADIO: Matt Pinfield returns as host of Flashback With Matt Pinfield on Westwood One this weekend, following a near-fatal stroke in January that left him unresponsive for over two months. After extensive rehab in Los Angeles, the former MTV VJ is set to resume hosting duties on June 14–15 on the nationally syndicated rock show. During his recovery, Leslie Fram served as interim host of Flashback. Pinfield also continues his weekday role on The Matt Pinfield Show on 88.5 The SoCal Sound in Los Angeles. Cumulus Media’s Brian Philips praised Pinfield’s recovery, calling him a “warrior.”

ICYMI:

Mike Harris

Mike Harris

Under new boss Mike Harris, MCA Nashville laid off nearly 20 employees across multiple departments. The cuts affect several high-level execs, including vps Leigh Malleus (media marketing), Karen Naff (creative services) and Gary Keffer (strategic marketing). Senior directors Michelle Hall, Troy Scott and Leah Ducey were also let go, along with multiple directors and coordinators. [Keep Reading]
Last Week’s Turntable: Big Machine Promotes Streaming Driver
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Meet Lenny Pearce, the ‘Toddler Techno’ DJ Throwing Raves for Children

Lenny Pearce had been producing electronic music and uploading it to SoundCloud for years, but it wasn’t until he made a remix unlike anything being played in the club scene that his career skyrocketed.

“The first one that really took off was ‘Head, Shoulders, Knees & Toes,’ techno version,” says the Australian producer.

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He’s speaking about his edit of the classic children’s song that encourages kids to touch their head, shoulders, knees and toes. (And eyes, and ears, and mouth and nose.) But instead of being rendered in traditional sing-song, Pearce’s version is done with kickdrum and waves of dark synth.

It’s one of many canonical children’s songs that Pearce has made dance remixes of, forging a genre he calls “toddler techno,” and with it carving out a niche space in the touring world with his baby raves.

Thus far, Pearce has hosted events in Australia, Bahrain, Singapore and the United States, where he launched a ten-date tour this week. The run hits nine U.S. cities through the end of the month, with each event welcoming between 700 to 1,500 children and parents. Most of the shows sold out within minutes, altogether selling more than 11,000 tickets. After the U.S. he’s off to Malaysia and has had offers come in from Kenya as well.

“Nursery rhymes are just known by everyone,” he says of his global demand.

DJ-ing all-ages parties wasn’t on Pearce’s radar when he started in entertainment. 15 years ago, he was part of a 10-person breakdancing crew that won Australia’s Got Talent in 2010. This team, Justice Crew, then transformed into a boy band that clocked hits like “Boom Boom,” which hit No. 1 on the Australian ARIA Singles chart. Pearce DJ’d as part of Justice Crew shows and fell in love with production, eventually leaving the group to focus on it. While his career was for a time “going nowhere,” he says he eventually became a better and better producer, working in house and tech house and uploading his music to streaming platforms while trying to get the attention of labels.

Then, two years ago his first child — a daughter — was born. “She captured my heart,” Pearce says. “I wanted to do everything for her.” He was still making music, but was suddenly also a stay-at-home dad. And as any parent who’s spent long stretches of time with their young child has likely experienced, traditional children’s music was suddenly on heavy rotation in the Pearce household.

“She liked ‘The Wheels On the Bus’ and and all that,” says Pearce of his daughter. “With my creative mind I was thinking that I could remix these songs and put them on TikTok.” Amid the bottles and naps, he did just that, working from his home studio. “And then it just started to take off from there.”

One of Pearce’s first uploads, the techno edit of “Head, Shoulders, Knees & Toes” quickly racked up 500,000 views, with Pearce’s follower count on TikTok growing from 30,000 to over a million as he uploaded other kid-centric club edits. (He now has 2.1 million followers on the platform.) The track’s success lead him to sign myriad remixes to the longstanding Dutch dance label Spinnin’ Records, an imprint he’d been trying to get the attention of for years. In 2024, Spinnin’ released his slinky club version of “Wheels On the Bus,” which now has 2.3 million views on YouTube alone.

Pearce’s career was also buoyed by the fact that his identical twin brother, John Pearce, is a current members of Australian kids group The Wiggles. (The brothers were also both members of Justice Crew.) The connection made it possible for Lenny to remix an entire Wiggles album into The Wiggles Soundsystem: Rave of Innocence, which featured 14 edits of classics by the group. The album hit No. 1 on the ARIA Australian Dance Albums Chart.

Pearce’s work isn’t entirely reinventing the wheel. Snoop Dogg has done his own interpretations of children’s music, and in 2020, Marshmello and his team capitalized on the artist’s popularity among children and launched a kids-focused content platform. Dance edits of kids songs have been around for years, but mostly as one-offs, making them harder for parents to find in aggregate.

“There’s not one artist who has been doing it,” Pearce says. “There’ll be a random guy who does a trap version of ‘Five Little Ducks’ or something. But in the eyes of toddlers and parents, there hasn’t been an artist who they can go to for this sound.”

Pearce says the messages he gets from parents around the world are often ones of gratitude, given that his music provides something that children love, but which is different than the traditional kids fare that can become mind-numbing with repetition. His music is also a way for parents to connect with the club vibe that, for many, defined their pre-child years.

As such, Toddler Techno live events was the next logical step, with Pearce signing with WME for representation late last year.

“A DJ performing for kids and families sounded wild enough to be huge, and that’s exactly what it is,” says Pearce’s agent at WME, Peter Schwartz. “The family market has always been strong — parents need entertainment! Lenny’s engaging both kids and the parents who were raving not too long ago and still want to have fun.”

To wit, Pearce’s current U.S. tour sold out every show in ten minutes, Scwartz says, with second shows added in most markets. The run comes on the heels of Pearce’s debut album Toddler Techno (Vol. 1), released in March. Pearce is playing traditional pop/rock venues like Los Angeles’ Roxy Theater, The Brooklyn Bowl and Chicago’s Outset, and a bigger fall tour currently in the planning stages. Show tickets range between $30 and $40, with some venues letting very young children in for free.

“What Lenny’s doing is fun, fresh, and a little edgier than other kids’ acts,” says Scwartz, “which we think really sets him apart.”

Pearce, who has a warm personality, a wide smile and a long, colorful braid that in fact gives him an aptly cartoonish quality, says kids have always just naturally been drawn to him, making him the perfect artist to play a party designed for families. (To wit, he’s also collaborated with kids entertainment juggernauts including Nickelodeon, Disney and Hasbro.) His shows welcome even the newest of newborns (“There’s like, babies in carriages,” he says) and are not seated, meaning kids and parents can roam the dancefloor like attendees do in adults-only settings.

On the road, Pearce has seen entire families come dressed in matching mermaid outfits and others in tutus. (His now two year old daughter also prefers this latter accessory, with Pearce and his wife also welcoming a baby boy in April.) Shows also offer face-painting, hair braiding and photo booths, and a recent event had a giant inflatable octopus in the middle of the dancefloor. These elements are obviously kid-centric, but they’re also not really different from standard activities and styles at adults clubs and festivals. At a show in Philadelphia earlier this week, kids clutched glow sticks and wore sunglasses on the dancefloor, and their parents did too.

Pearce has heard plenty of jokes about attendees taking shots of apple juice versus alcohol and acknowledges that one of the reasons why what he does is so popular is because “it’s like an extreme to an extreme. Rave culture is supposed to be all about drugs and partying and this and that, and then kids are so innocent. But it’s not about the party aspect, it’s about music, entertainment, unity and including the whole family.”

There’s a lot of forthcoming music to keep the tiny fists pumping. Pearce has a new album of remixed kids classics dropping soon, with his ability to reconfigure these songs possible because many are old enough to be covered by public domain and are not under copyright. When Pearce does eventually get through the well of kids classics, he says he’ll simply shift genres and do all of the same music in drum & bass, or deep house, or reggaetón. “By the time that cycles around, we’ll all be retired,” he says.

In the meantime, he seems to have found his calling as both an artist and a dad.

“A lot of parents say they play my remixes in the car on the way to school or daycare and it’s not a buzzkill,” he says. “The kids enjoy it, and they do, too.”

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After Going Viral & Getting Covered by Kelly Clarkson, Elizabeth Nichols Preps New EP: ‘I Look at Songs as Mini-Books’

Elizabeth Nichols could have been an author, an accountant or a lawyer.

Instead, she chose artist. And now she has a breakthrough song with the quirky kiss-off “I Got a New One.” The attitude-driven song about kicking toxic, possessive lovers to the curb got a boost recently when Kelly Clarkson gave it the “Kellyoke treatment” on an episode of her popular talk show The Kelly Clarkson Show.

Nichols independently released “I Got a New One” in December. Soon after, The Kelly Clarkson Show’s team reached out, asking for permission to use the song.

“I signed everything, did the legal stuff and then I didn’t hear anything,” Nichols recalls to Billboard. “I thought maybe it was going to play in the credits or something. But then I woke up and Kelly was singing it on TV. I freaked out, alone in my house. I ordered Dickey’s Barbeque to celebrate — nothing like barbeque to celebrate.”

After her rendition, Clarkson expressed her happiness at being able to shout out a “fellow Texan” and heaped praise on Nichols’ song (“I love it so much. It’s so funny”). “I heard what she said on TV and it was so kind. It was a very huge honor,” Nichols adds.

Nichols is No. 15 on Billboard’s Emerging Artists chart, and has already opened shows for Wyatt Flores. Her seven-song debut EP Tough Love comes out on June 20 on Pulse Records.

“I’m just counting down the days until [Tough Love] releases,” she says. “It comes out the day before my birthday, and I’m celebrating with a crawfish boil. That was my one request.”

The set, produced in part by Nichols, Travis Heidleman, Steve Rusch and Jackson Foote, includes the flirtatiious, quirky “Mama,” as well as another sterling track, “Somebody Cooked Here” — which Nichols wrote with Mags Duval, co-writer of Alex Warren’s current two-week Billboard Hot 100 chart-leader “Ordinary.”

Texas native Nichols, who grew up in Louisville, Kentucky, doesn’t see songwriting as all that different from her pursuits as an author. “I kind of look at songs as mini-books or stories,” she says. “There needs to be a cliffhanger or a plot twist.”

Nichols knows something about a plot twist; her own career journey is filled with them. A pastor’s daughter, Nichols grew up singing in church and started writing songs at age nine. But she put songwriting aside to focus on school and long-form writing, studying writing at Oral Roberts University in Oklahoma. She then earned her master’s degree in accounting in Melbourne, Australia. But even then, she was being pulled toward music. She began writing songs again, sometimes crafting tunes about various classmates, and putting out snippets of those songs under an alias account on TikTok.

Her homespun songs began connecting with not only fans, but with other artists. Her first-ever co-writing session, prior to moving to Nashville, was with “Indigo” hitmaker Sam Barber. She landed a co-write on his 2024 album Restless Mind.

“I got a DM from Sam’s manager, and they were like, ‘He likes your music. Do you do co-writes?’” Nichols recalls. “I had to Google what a co-write was — I had no clue. But I flew to Montana and met Sam and we wrote for a few days. Sam’s so talented and amazing. The first song we wrote was ‘Morning Time,’ which ended up on his album. Right after that, I went and got a guitar and was like, ‘This is my career now.’”

She moved to Nashville in August 2024 and enrolled in law school at Belmont University, but kept writing songs and setting up co-writing sessions. The first week she arrived in Nashville, a writing session with writer-producer Jackson Foote brought about “I Got a New One.”

“I’m kind of ornery,” she says with a grin, as she talks of co-writing the defiant song. “I had the story arc thought out. I was like, ‘Now, let’s just make the music and flesh it out.’”

By January, Nichols dropped out of law school to focus fully on music. In early June she experienced her first CMA Fest in Nashville. When her first official CMA Fest debut was rained out early on during the four-day festival, Nichols orchestrated her own plot twist, performing on the street in downtown Nashville for fans that same day.

“I got to meet everyone, shake their hands, take pictures with them. It was cool,” she recalls. “I just started playing shows a month ago, but I was recognizing people from my comments section, like, ‘Oh, you comment on my videos!’ My screen time is scary. I’m a little chronic.”

In addition to releasing her EP, she’ll be opening shows for Little Big Town and Russell Dickerson throughout the summer. Billboard caught up with Nichols, Billboard’s Country Rookie of the Month for June, at CMA Fest to discuss “I Got A New One,” the Kelly Clarkson performance, her EP and more. See our conversation below.

This EP also includes “Somebody Cooked Here,” a song you wrote with Mags, about a woman who visits her lover and realizes he was previously in a pretty serious relationship. What do you remember about writing that?

We wrote that the first month I came to town, it was the first time we met. It took us about 20 minutes to write the whole song. It was immediately like sparks flying. Songwriting is like a first date. Sometimes it takes you time to click with someone and sometimes you go in there and it’s instant. I had the idea for “Somebody Cooked Here,” and we were like, “Let’s make it literal.” That’s one of my favorites, and we’ve written so many songs that are soon to come out.

You signed with Pulse Records in March. How did you connect with them?

I’m such a fan of everybody on my team, and they make my job so easy. When “I Got a New One” first came out, I released it independently and then talked to so many people. It was the hardest decision. It was like giving me 20 great options and asking what cut of steak I want — filet mignon, rib eye? Pulse and I just connected. I saw the projects they were working on and they were just killing it.

You just wrapped a tour opening for Wyatt Flores. What was that like?

When I had just 300 followers on TikTok, he was one of the first people who followed me; he was the first person of anyone in the music industry. Wyatt Flores is the best A&R. He was so [supportive] early on and so, it’s a full-circle moment for me to be opening for him. And he’s such a sweetheart and so kind.

What are your favorite cover songs to work into your set?

I love Toby Keith. “How Do You Like Me Now?!” is such a good, fun kiss-off song. We throw a few ones like that in there. And his music is funny — I like funny singers.

What kind of music did you grow up listening to?

I grew up in church, so I listened to a lot of CeCe Winans, Marvin Sapp.

Is a gospel project in your future?

I would love to one day, because the sky’s the limit. You never know. My dad would be happy about that.

What did he think when you told him you were going to pursue music?

I was in law school here in Nashville, and I dropped out in January. I called my dad and told him, and he was like, ‘Oh, god.’ But he’s the most supportive. He’s been at every show. He has this calendar printed out with every date of every show I have for the next year and he’s already booked flights for every single one. He’s happy. He just wanted a free lawyer. But he’s fine. He gets free concerts.

What is a song you wish you had written?

Any Kacey Musgraves song. “Tin Man” from Miranda Lambert. It makes me angry when I listen to it, sometimes because I’m like, “I wish I could have written this.” It’s so beautiful.

Who would you love to collaborate with?

I’m a big Zach Top fan. Who isn’t? He’s killing it, and he does the cool, old-school thing.

What podcast or book are you into right now?

I’m reading The Hunger Games, which has been fun. I finished the first book before CMA Fest. I have the rest of the books and I made my roommate hide them so I wouldn’t read them during the Fest. So I’m excited for Monday after the festival because I can read [the series’ second book] Catching Fire.

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An Animated Charlie Wilson Joins ‘Gracie’s Corner’ for Playful ‘Have a Good Time’ Video

Charlie Wilson teams up with Gracie’s Corner, the popular, animated sing-along series on YouTube, on “Have a Good Time,” a new single released by the family-run channel Friday morning (June 13). The R&B mainstay sings on Gracie’s dance groove and stars in its music video, launching below.

With a little help from Wilson — aka “Uncle Charlie” — Gracie’s latest song inspires young viewers to get up and move along to the music: “Uncle Charlie says clap your hands! Clap, clap! And do your dance! Uncle Charlie says stomp your feet! Stomp, stomp!”

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Kids should catch on the Uncle Charlie’s feature fast, as it’s a reference to the classic childhood game Simon Says.

“Working with Charlie Wilson on ‘Have A Good Time’ has been an absolute dream. His energy and passion for music are contagious, and he brings such a joyful spirit to everything he does. This song is all about celebrating movement, fun, and togetherness — something Uncle Charlie embodies effortlessly. Seeing Gracie and Charlie share the mic is a special moment for families everywhere, and we can’t wait for kids to dance along!” Dr. Javoris Hollingsworth, the real-life Gracie’s dad and co-founder of Gracie’s Corner, tells Billboard Family.

“Have a Good Time” is now available on streaming services including YouTube, Spotify and Apple Music.

Gracie’s Corner is known for positive, fun content like 2024’s viral “Veggie Dance,” the “yum, yum, eat ’em up!” dance number reminding children to eat their asparagus (and broccoli and Brussels sprouts and cauliflower, et al.), and the empowering 2020 breakthrough hit “I Love My Hair.”

Gracie's Corner

The creators behind ‘Gracie’s Corner’: Graceyn “Gracie” Hollingsworth and her parents, Dr. Javoris Hollingsworth and Dr. Arlene Gordon-Hollingsworth.

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The winner of two NAACP Image Awards — for outstanding children’s program and outstanding animated series — in 2025, the channel starring an animated Graceyn “Gracie” Hollingsworth aims to entertain and uplift with educational, inclusive content that speaks to a diverse audience.

It’s a family pursuit and passion, as it was all started by Gracie and her parents, Dr. Javoris Hollingsworth and Dr. Arlene Gordon-Hollingsworth. At press time, their YouTube account has more than 5.5 million followers, with total views surpassing 4.6 billion since its inception in 2020.

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Songwriters Hall of Fame: 8 Standout Moments From the 2025 Gala

“This one here hits different,” George Clinton told an assorted crowd of songwriters, artists and music industry players in New York City on Friday (June 13) night as he was inducted into the Songwriters Hall of Fame. “It’s been chosen by those who truly know what it means to be a songwriter and I’m so honored.”

The P-Funk progenitor was, unsurprisingly, correct: the Songwriters Hall of Fame does hit different, even for attendees. Without the pressure of delivering ratings for a televised or livestreamed awards show, the annual songwriters’ gala can focus on honoring the actual honorees. As the organization’s CEO/president Linda Moran said in her opening remarks, this isn’t an evening about getting the biggest names imaginable in one room – it’s truly a night where the songwriters are the stars.

That’s not to say there aren’t A-list guests and buzzy moments at the gala. At Friday night’s ceremony at Manhattan’s Marquis Marriott, there were surprise stars, pinch-me performances, moving moments and pleasantly unexpected choices.

This year’s SHOF induction class consisted of: George Clinton; Tom Johnston, Michael McDonald and Patrick Simmons (of The Doobie Brothers); Ashley Gorley; Rodney “Darkchild” Jerkins; Mike Love; and Tony Macaulay. Gracie Abrams was honored with the Hal David Starlight Award, which spotlights gifted young scribes, and Stephen Schwartz was given the Johnny Mercer Award, which salutes songwriters with a substantial legacy who have already been inducted.

Here are eight standout moments from the 2025 Songwriters Hall of Fame induction.

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Justin Bieber’s Touring Group, We The Band, Release Debut Single, ‘One & Only’

While Justin Bieber stays busy recording the long-awaited follow-up to his 2021 Justice album, his backing gorup, We the Band, dropped their debut single on Friday morning (June 13). The Earth, Wind & Fire-esque slow-burn R&B jam “One & Only” showcases the group’s smooth, soulful vocals and retro ’70s funk style. The slick accompanying performance video was directed by Zev York in collaboration with Nick DeMoura, who was the choreographer and creative director for JB’s 2023 Believe world tour.

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The group consisting of bassist/vocalist Harv, DJ Tay James, guitarist/vocalist Julian Michael, drummer Devin “Stixx” Taylor and keyboardist Dr. O backed up Bieber on his 2015 Purpose world tour as well as his 2022 Justice world tour, which prematurely ended in Sept. 2022 after the singer revealed that he was diagnosed with Ramsay Hunt Syndrome and suffering from partial facial paralysis.

According to a release announcing the song, Tay James met Bieber in 2009 after graduating from college, snagging a gig as the singer’s official DJ, followed by bassist Harv taking on the role of music director in Bieber’s live band, which he filled out with Taylor and Michael. In 2021, Harv co-wrote and co-produced Bieber’s Billboard Hot 100 No. 1 hit “Peaches.”

We The Band recently signed with the Avex Music Group and the group is working to finish their as-yet-untitled debut album, which, according to a release announcing the signing will include unnamed “special guest appearances.”

“This has been a dream of ours for many years now,” the group said in a statement. “To create our own music that represents who we are as musicians with the support of a global powerhouse like Avex is incredibly exciting for all of us. We can’t wait for our fans to hear what we’ve been working on.”

At press time no additional information was available on Bieber’s next studio album, which the singer has been teasing for much of the past year via videos and pictures from the recording studio.

Check out the “One & Only” video below.

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Jonas Brothers Drop ‘Live From the O2 London’ Album Featuring Unreleased Song ‘When You Know’

While Jonas Brothers fans await the release of the sibling band’s Greetings From Your Hometown studio album on Aug. 8, they can keep their summer cool with a live LP that dropped on Friday (June 13). Live From the O2 London is a 24-track collection recorded at the iconic London venue last year, featuring such beloved hits as “Sucker,” “Only Human,” “Waffle House,” “What a Man Gotta Do,” “Year 3000” and “Burning Up.”

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Along with those bangers, the album ends with a cover of the Cranberries’ 1993 hit “Dreams,” and also features the unreleased ballad “When You Know” from their upcoming LP. In addition, the career-spanning live album opens with the 2023 song “Wings,” and makes pit stops at “Summer Baby,” “Vacation Eyes,” “Play My Music,” “Fly With Me,” “Paranoid,” “Walls” and “Only Human,” as well as including “Cake By the Ocean” from Joe Jonas’ side band, DNCE.

In an Instagram post earlier this week, the trio promised that the live album’s tracklist features songs from “the early days, unreleased music from our upcoming studio album, and a ton of favorites in between.” They added, “Getting to capture the energy from these shows on Nick’s birthday in London last year was something special and we can’t wait to share it with you all.”

This year has been all about celebrating the trio’s 20th anniversary as a band, which, so far, has included the release of the singles “Slow Motion” and “Love Me To Heaven,” as well as the massive JONASCON gathering at New Jersey’s American Dream. The band will hit the road for their North American Jonas20: Living the Dream stadium tour slated to kick off on Aug. 10 at MetLife Stadium in East Rutherford, N.J.

Listen to Jonas Brothers Live From the O2 London LP below.

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Toby Gad Shares Inspiring Music Video for Donna Summer Collab ‘Run (Piano Diaries)’

Toby Gad unveiled the music video for “Run (Piano Diaries),” his previously unreleased collaboration with the late Donna Summer, exclusively to Billboard on Friday (June 13).

The Queen of Disco’s voice shines as she delivers the ballad’s powerful message, singing, “You can sit it out, wait until you see your chance/ Try your luck, you can dare to dance/ Dream away your life and never live your dream/ Or breathe every breath you get and run with it.”

Meanwhile, the music video features Gad accompanying Summer’s vocals on the piano as 13-year-old dancer London! performs an emotional lyrical routine over a montage of archival footage of the late “MacArthur Park” dance floor diva, who passed away in 2012 at the age of 63.

Gad and Summer originally worked on the song for the disco legend’s final studio album, 2008’s Crayons, which also earned the pair a No. 1 hit on Billboard’s Dance Club Songs chart with fourth single “Fame (The Game).”

Though “Run” ultimately didn’t make the cut for Crayons‘ final tracklist, Gad is now releasing the ballad as special part of his ongoing Piano Diaries project, reimagining some of the greatest hits in his catalog with new artists.

“Donna was funny, such a warm spirit — we instantly connected,” Gad tells Billboard. “I was a little nervous at first working with such an icon, but unlike Madonna, who enjoyed testing my character for several days before letting me into her world, Donna opened up to me immediately as I showed her my first ideas. She loved to crack jokes and had such an immediate sense of humor. She enjoyed big hugs and on the first day it felt like she had already decided that I was part of her family.”

The songwriter behind hits like John Legend’s “All of Me” and Beyoncé’s “If I Were a Boy” went on to recall, “Donna was not only an amazing singer who was totally in charge of her voice, much like Beyoncé when I worked with her, [she] was also a great songwriter, intuitively finding words that are honest, authentic and have emotion.”

Watch Gad’s emotional music video for “Run (Piano Diaries)” below.

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Haim Announce Full Tracklist For ‘I Quit’ Album

Haim finally released the full tracklist for their upcoming album I Quit on Thursday night (June 12), slowly revealing the 15 song titles in videos on their Instagram stories become compiling the whole thing in a single post (see below).

While we already knew the follow-up to 2020’s Women In Music Pt. III will contain the previously released singles “Relationships,” “Everybody’s Trying to Figure Me Out,” “Down to Be Wrong” and “Take Me Back,” we now know the collection co-produced by singer/guitarist Danielle Haim and Rostam Batmanglij will also feature the songs “All Over Me,” “Love You Right,” “The Farm” and “Blood on the Street,” among others.

The group previously teased that the opening track, “Gone,” will feature a sample of George Michael’s “Freedom! ’90,” which Danielle said in an interview with i.D. magazine was inspired by listening another pop star’s bespoke sampling. “I was listening to the Beyoncé album, and I was really inspired by all the different samples,” she said. “It doesn’t feel ‘F–k you’ to me—it feels like… ‘I’m gonna do my thing.’”

Among the other songs on the album are: “Lucky Stars,” “Million Years,” “Try to Feel My Pain,” “Spinning,” “Cry” and “Now It’s Time.”

Alana, Danielle and Este Haim will hit the road in support of their fourth studio album on Sept. 4 with a show at TD Pavilion at the Mann in Philadelphia for a tour that will keep them across North America through an Oct. 11 show in Santa Barbara before hopping over to the U.K. for a run of late October shows that are currently slated to wrap on Oct. 31 at the OVO Hydro in Glasgow.

Check out the full track list for I Quit below.

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Taylor Swift and Travis Kelce Head to Florida for Stanley Cup Final

Swifties the world over have been rushing to scream “Take me to Florida” as Taylor Swift and partner Travis Kelce were seen in the southeast for the Stanley Cup Finals.

Turning up for Game 4 on Thursday (June 12), the pair were in attendance at Sunrise’s Amerant Bank Arena to watch the Edmonton Oilers reign supreme over the Florida Panthers, with the 5-4 result coming via an overtime goal from Leon Draisaitl. 

However, with Swift and Kelce in the crowd, ice hockey was of least concern for fans of the musician, with announcers focusing on the pair to describe them as “musical and sporting royalty.” Likewise, even a photo of the pair taken during the game’s second period with Canadian hockey icon Wayne Gretzky failed to overtake the excitement generated by Swift’s presence.

Per a recent report from People, Swift is currently staying with Kelce at his Florida residence while he’s in training for the upcoming NFL season. In February, the Kansas City Chiefs tight end made the decision that he would return to professional football for another season, with the upcoming season set to be his last under contract with the team.

Earlier this month, Travis and brother Jason spoke to former professional basketball player Shaquille O’Neal on their New Heights podcast, where the NBA icon suggested that Travis could follow in his footsteps of his DJ moniker Diesel and become an opening act for Swift.

“You know what [would be] crazy? You opening up with your girlfriend,” O’Neal suggested. “Bro, you’d be a f–king star. Ten minutes hyping up the crowd, oh my God.” 

“Come on, you know I’m a hype man,” Kelce said while laughing. “You know I’m a hype man. Get it rocking in there. Have the Swifties bouncing off the walls before T gets out there.”

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