Spotify is partnering with Sony Music Group, Universal Music Group, Warner Music Group, Merlin and Believe on “artist-first” AI music tools, according to a blog post from Spotify. Little is known about what generative AI models will come out of this partnership but the post notes that the company has “already begun work on the first product” and that these forthcoming AI products will “empower the artists and songwriters they represent and connect them with the fans who support them.”

As part of the announcement, Spotify is touting four principles that it will follow with its AI models to “put artists and songwriters” first.

It reads as follows:

To create these forthcoming models, Spotify says in its blog post that it has started building a state-of-the-art generative AI research lab and product team.

The news comes just weeks after Spotify announced that it was strengthening its policies on negative use cases of AI-generated music. This includes updates to its spam, impersonation and content mismatch policies, among others. The streaming service also recently announced an integration with ChatGPT, allowing users to better personalize their song and podcast recommendations.

See below for comments from top music industry executives on the new agreement:

Alex Norström, co-president and chief business officer at Spotify: “Technology should always serve artists, not the other way around. Our focus at Spotify is making sure innovation supports artists by protecting their rights, respecting their creative choices, and creating new ways for fans to discover and enjoy the music they love.”

Gustav Söderström, co-president and chief product and technology officer at Spotify: “AI is the most consequential technology shift since the smartphone, and it’s already reshaping how music is created and experienced. At Spotify, we want to build this future hand in hand with the music industry, guided by clear principles and deep respect for creators, just as we did in the days of piracy. Our company brings deep research expertise to this opportunity and we’re actively growing our AI team and capabilities to drive the continued growth of the entire music ecosystem.”

Rob Stringer, chairman of Sony Music Group: “We are pleased to be collaborating with Spotify to develop responsible generative AI offerings that broaden opportunities for artists and songwriters, whilst enhancing the music experience for fans. This is an acknowledgement that direct licensing in advance of launching new products is the only appropriate way to build them and demonstrates how a properly functioning market benefits everyone in the ecosystem and fuels innovation. We appreciate and applaud Spotify’s leadership at this critical period.”

Sir Lucian Grainge, chairman & CEO of Universal Music Group: “For several years we’ve been driving initiatives with our partners to put artists at the center of the conversation about Gen AI and have struck Artist-Centric agreements that establish innovative new vehicles to unlock the opportunities presented by this revolutionary technology.  I commend Daniel, Alex and Gustav on taking these critical steps forward to advance this approach.  It is essential that we work with strategic partners such as Spotify to enable Gen AI products within a thriving commercial landscape in which artists, songwriters, fans, music companies and technology companies can all flourish.”

Robert Kyncl, CEO of Warner Music Group: “We’ve been consistently focused on making sure AI works for artists and songwriters, not against them. That means collaborating with partners who understand the necessity for new AI licensing deals that protect and compensate rightsholders and the creative community. We support Spotify’s thoughtful AI guardrails, and welcome the opportunity to pioneer the future together.”

Charlie Lexton, COO of Merlin: “Merlin’s approach to the use of AI in music is straightforward. We actively look for partners who respect and value copyright, respect and value artists and want to enrich, not displace, the creative community. Spotify’s principles on AI announced today demonstrate that same commitment. We are excited to work together to ensure these principles translate into products that genuinely enhance the creative and commercial eco-system – for the benefit of our independent members, their artists and their fans.”

Denis Ladegaillerie, founder and CEO of Believe: “At Believe, we have always seen two sides to AI and GenAI. On the one side is ‘responsible AI,’ focused on artist and copyright protection, guided by our four principles of consent, control, compensation, and transparency. On the other side is ‘value-creative AI,’ innovations that place artists and their careers at the center, empowering creativity, accelerating music discovery, and deepening fan engagement. After supporting Spotify’s recent initiatives to strengthen AI protections, we are now thrilled to partner with Spotify to co-develop ‘value-creative AI’ tools that will fuel artist development and unlock new creative and commercial opportunities.”

After the release of a series of shocking passages from ex-husband Kevin Federline‘s upcoming memoir were published this week, Britney Spears responded on Wednesday night (Oct. 15) in a lengthy post in which she slammed the father of her two sons over his claims about her parenting.

“The constant gaslighting from ex-husband is extremely hurtful and exhausting,” Spears, 43, wrote. “I have always pleaded and screamed to have a life with my boys. Relationships with teenage boys is complex. I have felt demoralized by this situation and have always asked and almost begged for them to be a part of my life.”

In excerpts from You Thought You Knew that were published by the New York Times earlier this week, Federline, 47, claims that their son allegedly woke up one night to find Spears standing in the doorway holding a knife. Elsewhere, the former Spears back-up dancer claims that Spears drank wine while she was pregnant and did cocaine when she was breastfeeding.

While Spears did not directly confront those allegations in her post, she did hit out at Federline for what she claimed was the way he allegedly speaks about her to their children, sons Jayden, 19, and Preston, 20, while lamenting the lack of contact she’s had with the boys over the past decade-plus. “Sadly, they have always witnessed the lack of respect shown by own father for me. They need to take responsibility for themselves. With one son only seeing me for 45 min in the past 5 years and the other with only 4 visits in the past 5 years. I have pride too. From now on I will let them know when I am available,” she wrote.

As for the claims in the memoir, Spears referred to them as “those white lies in that book, they are going straight to the bank and I am the only one who genuinely gets hurt here. I will always love them and if you really know me, you won’t pay attention to the tabloids of my mental health and drinking.”

Spears and Federline were married in Sept. 2004 and singer filed for divorce two years later. Federline told The Hollywood Reporter this week that the couple’s sons were, “100 percent behind me telling my story,” describing their relationship with their mother as “fluid and they do talk. They’ve even gone and seen her and stuff.” In 2023, the boys moved to Hawaii with Federline, who was granted full custody of them during Spears 13-year conservatorship.

Though Spears lamented over the years that she rarely, if ever, got to see her sons, during Christmas 2024 she gleefully shared that she was able to spend time with Jayden after a long period apart. “Best Christmas of my life !!! I haven’t seen my boys in 2 years !!!” she wrote on Instagram at the time. “Tears of joy and literally in shock everyday koo koo crazy so in love and blessed !!! I’m speechless thank you Jesus !!!” Earlier this year Spears also posted some other pics of her with Jayden.

While Federline told THR that all he wants for Britney is “for her to be happy and healthy” and to be able to spend time with their children,” Spears’ team released a strongly worded statement slamming the book, which also alleges that Spears partied with Lindsay Lohan and Paris Hilton while her sons cried. “With news from Kevin’s book breaking, once again he and others are profiting off her and sadly it comes after child support has ended with Kevin. All she cares about are her kids, Sean Preston and Jayden James and their well-being during this sensationalism. She detailed her journey in her memoir,” read the statement.

Speaking to US Weekly on Wednesday, Federline denied that the book is a cash grab. “Money’s not the root of this thing,” he said. “I feel like, if she has the right to tell her story, Why don’t I?” Spears released her own memoir, The Woman in Me, in 2023, in which she detailed her relationship with first love Justin Timberlake, as well as her marriage to Federline and the impact of her conservatorship.

Among the other allegations in Federline’s book is a claim that on the night before his wedding to Spears she called Timberlake and that he caught her “full-on making out” with a female backup dancer during a night out in Amsterdam in 2004 on her Onxy Hotel Tour just weeks after the couple began dating.

In the Times excerpts, Federline said he worries about his ex’s well-being and questions whether the 2021 termination of her conservatorship — put in place in 2008 to manage her personal and professional affairs following a series of concerning mental health episodes — was the right choice. “The truth is, this situation with Britney feels like it’s racing toward something irreversible,” Federline writes in the book.

“It’s become impossible to pretend everything’s OK,” he adds. “From where I sit, the clock is ticking, and we’re getting close to the 11th hour. Something bad is going to happen if things don’t change, and my biggest fear is that our sons will be left holding the pieces.”

Spears’ post ended with the singer — who has claimed that she has no interest in returning to performing or recording music — saying that she is living her life exactly as she wishes now. “I am actually a pretty intelligent woman who has been trying to live a sacred and private life the past 5 years,” she wrote. “I speak on this because I have had enough and any real woman would do the same.”

Ninajirachi‘s breakthrough year continues with a red-hot chance to win the coveted Australian Music Prize.

The Australian singer and songwriter’s debut full length album I Love My Computer (via NLV Records) is one of nine titles shortlisted for the 2025 AMP, awarded to the outstanding Australian album of original work from the previous year, as decided by a music industry panel.

When the album dropped in August, the rising EDM star was named Billboard Dance “Rookie of the Month”. Next month, the 26-year-old songwriter, producer, DJ and artist (real name: Nina Wilson) will compete for a leading eight trophies at the annual ARIA Awards, where she’s nominated for album of the year, best solo artist, the Michael Gudinski breakthrough artist, best independent release, best dance/electronic release and more.

Also shortlisted for the AMP are LPs by Tropical F*** Storm, Folk B**** Trio, Mudrat, and others released during the period Oct. 1, 2025 to Sept. 30, 2026.

Now celebrating its 21^st year and modeled on the U.K.’s Mercury Prize, the AMP is recognized as the most prestigious Australian award for the album format.

The initial judging process whittled down the longlist of 465 eligible albums to 50 nominees, focusing on creative merit over mainstream popularity. The winner will be announced Nov. 6, and will collect A$50,000 in prize money, courtesy of headline sponsor Soundmerch.

Previous winners include efforts by The Avalanches, Sampa the Great (twice), Gurrumul, A.B. Original, Courtney Barnett and last year’s recipient, Kankawa Nagarra for Wirlmarni.

Soundmerch Australian Music Prize 2025:

Bleak Squad — Strange Love

Divide And Dissolve — Insatiable

Floodlights — Underneath

Folk B**** Trio — Now Would Be A Good Time

Mia Wray Hi — It’s Nice To Meet 

Mudrat Social — Cohesion

Ninajirachi — I Love My Computer

Ruby Gill — Some Kind Of Control

Tropical F*ck Storm — Fairyland Codex

SYDNEY, Australia — AC/DC, digital streaming and that loveable blue heeler Bluey helped push APRA AMCOS’s full-year revenue and distributions into unchartered territory.

The Australasian rights organization this week posted revenue of A$787.9 million for 2024-25, up 6.5% from the previous financial year, with net distributable revenue at A$683.4 million, up 7.8% year-on-year, also an all-time result.

For the reporting period, the group’s expense to revenue ratio was reduced to 13.26% from 14.32%.

Based on recent results, the A$800 million revenue milestone should be crushed in the next annual report, and the magical A$1 billion figure is on the near horizon.

Presented this week during the third annual SXSW Sydney, APRA AMCOS’s Year In Review is broadly solid, and perhaps spectacular, certainly for Subscription Video on Demand, which includes Netflix, Disney+, and Apple TV, the “standout” category that grew by 15.7% to A$88.2 million, fueled by increases in subscription charges and a rising base of subscribers.

Digital was the juggernaut for APRA AMCOS, generating A$404.3 million, up 9.5%, while business for public performance, lifted by 1.1% to A$133.9 million.

Australian crowds came out for local superstars Cold Chisel, Dom Dolla, Kylie Minogue, and The Kid LAROI, and for major international artists Coldplay, Luke Combs and Pearl Jam.

Music “exports” was another strong suit. Homegrown songwriters and composers are “still hitting the big time globally,” notes APRA AMCOS, pointing to AC/DC’s Power Up European tour to Bluey‘s flying high antics in the U.S. for helping lift international revenue to A$98.8 million, up 14.8% year-on-year.

One painful point, however, is the ongoing evaporation of streaming revenue from local content, despite the clamor to streaming platforms in full year 2025. Revenue from television and radio licensing dipped, too.

Consumption of music in Australia, both on music streaming and User Generated Content (UGC) services, has grown by 50% since FY21, though, “alarmingly,” the percentage of consumption that relates to local songwriter and composer content in that same period has declined by 31% to just 9.5% of total music streaming over the past five years, APRA AMCOS reports, and 25.4% in UGC over the past three years.

The results “reflect our focus on service – growing revenue across every channel, sharpening operational efficiency, deploying smart technology that works for our business and members, delivering meaningful creative programs and celebrating our members’ incredible success,” comments Dean Ormston, CEO of APRA AMCOS.

“They also confirm what we already know: Australians and New Zealanders are world-leading music fans. We consume more music per capita than almost anywhere else on the planet, yet the ability for our members to be seen and heard is becoming more difficult every year.”

Aussies are “hearing and discovering less local music,” reads a statement from the PRO, a reality that was brought into sharp focus with the full-year ARIA Charts for 2024, and triple j’s Hottest 100, both of which were dominated by trans-Atlantic artists.

The sharp “collapse” in clicks for local content on streaming platforms over five years “isn’t happening because our music isn’t good enough, and our surging export revenues prove our artists are among the best in the world,” Ormston continues. “They’re writing hits, filling venues internationally and competing at the highest level. The talent is undeniable. Our platforms are borderless, but algorithms favour scale and international repertoire dominate by default.”

APRA AMCOS represents more than 128,000 songwriters, composers and music publisher members. Splitting the bodies, APRA passed the half-billion-dollar figure for the first time with revenue of A$521.3 million, up from A$498.6 million. AMCOS surpassed A$250 million for the first time, reporting A$266.6 million, up from A$241.4 million.

Read the full report at apraamcos.com.au/year-in-review.

A month after winning his second Primetime Emmy for his music for Severance, Theodore Shapiro was honored again for his scoring work on that Apple TV+ series at the 2025 World Soundtrack Awards. The awards were presented on Wednesday (Oct. 15) at the annual WSA Ceremony & Concert during Film Fest Gent, Belgium’s biggest international film festival.

Shapiro beat, among others, Volker Bertelmann, who was nominated for The Day of the Jackal, Dune: Prophecy and The Count of Monte Cristo. But the busy Bertelmann won film composer of the year for Conclave and The Amateur.

Composer Daniel Blumberg, who won an Oscar for best original score in March for The Brutalist, lost film composer of the year to Bertelmann, but he turned around and won discovery of the year.

The award for best original song went to “El Mal,” from Jacques Audiard’s groundbreaking musical Emilia Pérez. The song also won the Oscar in that category. It was written by Clément Ducol, Camille and Jacques Audiard, and performed in the film by Zoe Saldaña and Karla Sofía Gascón.

Philip Glass and Michael Nyman each received lifetime achievement awards.

Here’s the full list of nominations for the 2025 World Soundtrack Awards, with winners marked.

Best Original Song

“Beautiful That Way” from The Last Showgirl – written by Andrew Wyatt, Lykke Li, Miley Cyrus; performed by Miley Cyrus, Andrew Wyatt, Matt Dunkley

WINNER: “El Mal” from Emilia Pérez – written by Clément Ducol, Camille, Jacques Audiard; performed by Zoe Saldaña, Karla Sofía Gascón

“I Lied to You” from Sinners – written by Ludwig Göransson, Raphael Saadiq; performed by Miles Caton

“Never Too Late” from Elton John: Never Too Late – written by Elton John, Brandi Carlile, Andrew Watt, Bernie Taupin; performed by Elton John, Brandi Carlile

“Winter Coat” from Blitz – written by Nicholas Britell, Steve McQueen, Taura Stinson; performed by Nicholas Britell, Saoirse Ronan

Film Composer of the Year

WINNER: Volker Bertelmann – Conclave; The Amateur

Daniel Blumberg – The Brutalist

Kris Bowers – The Wild Robot

Clément Ducol and Camille – Emilia Pérez

Alberto Iglesias – The Room Next Door

John Powell – How to Train Your Dragon

Television Composer of the Year

Volker Bertelmann – The Day of the Jackal; Dune: Prophecy; The Count of Monte Cristo

David Fleming, Gustavo Santaolalla – The Last of Us (Season 2)

Ariel Marx – Dying for Sex

Bear McCreary – The Lord of the Rings: The Rings of Power (Season 2)

Martin Phipps – Black Doves

WINNER: Theodore Shapiro – Severance (Season 2)

Discovery of the Year Award

WINNER: Daniel Blumberg – The Brutalist

Robin Carolan – Nosferatu

Jung Jae-il – Mickey 17

Dave Metzger – Mufasa: The Lion King

Hania Rani – Sentimental Value

Public Choice Award

Buio come il cuore (Dark is the Heart) – David Cerquetti

WINNER: Hola Frida – Laetitia Pansanel-Garric

Ni chaînes ni maîtres – Amine Bouhafa

Reagan – John Coda

The Lord of the Rings: The War of the Rohirrim – Stephen Gallagher

WSA Game Music Award

WINNER: Clair Obscur: Expedition 33 – Lorien Testard

Doom: The Dark Ages – Alex Klingle, Brian Lee White, Brian Trifon, Jay Wiltzen

Dune: Awakening – Knut Avenstroup Haugen

Farewell North – John Konsolakis

Neva – Berlinist

Belgian Film Composer of the Year

Vincent Cahay – Maldoror

WINNER: Ruben De Gheselle – Young Hearts; There was, There was not

Frédéric Vercheval – Largo Winch: Le prix de l’argent

Best Original Composition by a Young Composer

Neville Bharucha

Théo Cascio

WINNER: Bongseob Kim

Lifetime Achievement Award

Philip Glass

Michael Nyman