English musician Kate Nash has announced the launch of a new OnlyFans page to help fund the continuance of her current tour.

The new page is part of a new campaign dubbed ‘Butts 4 Tour Buses’, which launches alongside the first date of the musician’s tour of the U.K. and Europe.

“Whilst touring is the best job EVER it is currently technically what you might call a passion project for a lot of artists in 2024,” Nash explained in a statement. “A recent survey by Pirate Studios found that whilst gig ticket & festival prices are sky rocketing & we are seeing a select few in the industry become millionaires or even billionaires from touring, the majority of musicians and artists are struggling to be able afford to actually play shows.

“Costs of travel, accommodation, food, promotion & employees have also gone up in price but musicians are not seeing changes in their gig fees to help pay for all these rising costs,” she continued. “So this Christmas I’m asking that buy either a piece of my merch or my arse on my new ONLYFANS account katenyash87 to support me paying great wages & putting on a high quality show as I will not sacrifice either of things. (No need to stream my music, I’m good for the 0.003 of a penny per stream thanks) Pogue Mahone everyone! 🍑❤️”

Nash isn’t the only artist to utilize OnlyFans as a source of supplementary income. In July, fellow English singer Lily Allen launched her own account to sell feet pictures, having explained via her podcast Miss Me? that she was considering the option.

“I have a lady that comes and does my nails,” she told co-host Miquita Oliver. “They informed me that I have five stars on WikiFeet, which is quite rare. My feet are rated quite highly on the internet.”

“She said that I could make a lot of money from selling foot content on OnlyFans,” Allen added. “And I’m like, ‘Not no.’”

Last month, Allen provided an update, noting that the income derived from the new career move had already resulted in the surpassing of the income made by her monthly Spotify streams.

“imagine being and artist and having nearly 8 million monthly listeners on spotify but earning more money from having 1000 people subscribe to pictures of your feet,” Allen wrote on social media.

Allen’s remark came in response to someone who’d negatively commented on a post advertising her OnlyFans account. “Imagine being one of the biggest pop stars/musicians in Europe and then being reduced to this,” the fan wrote, to which the “Smile” singer added: “don’t hate the player, hate the game.”

TikTok and ICE have signed a long term licensing deal. The new agreement means that TikTok and its users can will to have access to the broad and wide ranging catalog of songs represented by ICE, which includes many of Europe’s biggest collection societies like PRS, STIM and GEMA. ICE also represents peermusic, Concord and Songtrust.

TikTok also launched its first-ever TikTok for Songwriters event on Tuesday (Nov. 19) at its London headquarters. Featuring appearance by JADE and Kamille, the event celebrating the art of songwriting in partnership with PRS and The Ivors Academy.

Seeker Music, the songwriter-led music rights, publishing and record company, has acquired the publishing rights to indie-rock band The Wombats’ first four albums. Formed in Liverpool in 2003, The Wombats early catalog contains hits like “Let’s Dance to Joy Division,” “Greek Tragedy,” and “Turn.” The Wombats said in a statement about the deal: “We are absolutely thrilled to be working with the team at Seeker and can’t think of a better team to help build our catalogue over the coming years.”

Slipstream, a music licensing platform with over 650,000 songs in its production library, has partnered with Kobalt for publishing administration. Earlier this fall, Slipstream announced that it had acquired Anthem Entertainment’s production music businesses, including Jingle Punks, 5 Alarm Music and Cavendish Music.

Platinum Grammar Publishing has signed singer-songwriter Morgan St. Jean to a global publishing deal. A co-writer on Chappell Roan’s hit song “Casual,” St. Jean is a fast-rising talent in songwriting world. As an artist, St. Jean got her start as a featured artist on the Borgeous single “Famous” and Loud Luxury’s “Aftertaste.” Since then, she has also released solo material, including the viral hit “Not All Men.” Her new publishing home, Platinum Grammar, was founded in 2022 by Joie Manda as a fully independent, self-funded publishing venture with the hopes of developing new talent. The company also recently signed Adam Wendler, co-writer of Dasha’s “Austin.”

Third Side Music has signed Katie Crutchfield, better known as indie band Waxahatchee, to a global publishing deal. News of the signing arrives just after Waxahatchee earned a Grammy nomination for Best Americana Album, and the A&R who signed her, Brontë Jane, received a promotion to become the company’s new executive vp of creative/A&R. In addition, TSM has elevated Mariah Flores to creative/A&R manager.

Maison Arts has signed producer/songwriter Alexander “AYOKAY” O’Neill to a publishing agreement. Along with his own artist project, making dance/electronic music, AYOKAY has lent his production skills to artists like Quinn XCII, Chelsea Cutler, Jeremy Zucker, Carly Rae Jepson and more.

Universal Music Publishing Group has signed Manchester-based singer-songwriter Lusaint to a global publishing deal. The news follows the release of Lusaint’s debut EP, Self Sabotage, released via Heavenly Fire.

Position Music, has announced the signing of SLOE JACK to a worldwide publishing deal. News of the agreement comes soon after SLOE JACK, a 22-year-old multi-genre talent, signed a label deal with Dream Artists and Interscope Records.

Warner Chappell Music and Cornman Music have jointly signed Trent Wayne to a global publishing deal. The southern Mississippi native has collaborated with notable songwriters such as Schmitty, Reid Morris, Noah Hudson, Zach John King, Matt Mulhare, Chase McDaniel, Mia Mantia, and Brett James, among many others.

Bosworth Music GmbH, part of Wise Music Group, has signed a further publishing agreement with the globally acclaimed Icelandic composer, producer and multi-instrumentalist Ólafur Arnalds for his entire back catalogue as well as new works. Arnalds began his relationship with Wise Music Group in 2020.

Donald Trump has reached a settlement with Eddy Grant over how much the president-elect must pay for using “Electric Avenue” without permission in a 2020 campaign video.

Two months after a federal judge ruled that Trump infringed the copyright to the 1982 hit by featuring it in the video, the same judge issued an order Wednesday saying the two sides had “settled this action” and that the case would be “discontinued.”

The settlement avoids the need for further litigation figure out how much Trump would need to pay Grant in damages, which had been left undecided by the September ruling. Terms of the settlement were not disclosed in court filings, and neither side immediately responded to request for comment.

Grant sued Trump in 2020 after the then-president used his 1982 hit in a social media video attacking Joe Biden. Grant said he reacted with “dismay” when he began receiving inquiries asking if he had approved the Republican candidate’s use of his music.

Trump’s lawyers argued back that the video was shielded under copyright’s fair use doctrine, which allows for the “transformative” re-use of protected works in certain situations. But in September’s ruling, Judge John G. Koeltl sharply rejected that argument.

“In this case, the video has a very low degree of transformativeness, if any at all,” the judge wrote. “The video is best described as a wholesale copying of music to accompany a political campaign ad.”

Trump repeatedly faced blowback during the 2024 election from artists who don’t want him to use their music. Beyoncé, Celine Dion, the Foo Fighters, ABBA and Sinead O’Connor‘s estate have all spoken out or threatened action, and the White Stripes and the estate of Isaac Hayes have both filed lawsuits against him and his campaign.

Four years earlier, Grant filed a similar case over Trump’s “wrongful and willful” use of “Electric Avenue,” a funky, reggae-infused track about the 1981 Brixton riot, named for a road running through that London neighborhood. The song reached No. 2 on the Hot 100 in the summer of 1983 and ultimately spent 22 weeks on the chart.

The video at issue, shared by Trump on X, featured a red “Trump” train outrunning a handcar driven by Biden, as audio clips of Biden’s speeches played above Grant’s 1982 hit. Grant’s attorneys said the campaign had refused to remove the clip even after they were warned — meaning that Trump was acting as if he was “above the law.”

Trump’s attorneys argued that the video had “transformed Grant’s original conception of ‘Electric Avenue’ as a protest against social conditions into a colorful attack on the character and personality traits of a rival political figure.” But in September’s decision, the judge was entirely unswayed by that defense — saying that it would only count as fair use if Trump had used the song to attack Grant, not Biden.

“The animation does not use ‘Electric Avenue’ as a vehicle to deliver its satirical message, and it makes no effort to poke fun at the song or Grant,” Judge Koeltl wrote, quoting directly from his earlier decision.

The ruling in September held that Trump and his campaign were legally liable for copyright infringement, but it left undecided the amount he would ultimately need pay Grant in damages.