Memphis Bleek has a pretty good working theory as to why his mentor Jay-Z hasn’t really released music, aside from a handful of features, since his last solo album, 2017’s 4:44, and his The Carters joint album with wife Beyoncé.

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Bleek sat down with Shannon Sharpe’s Club Shay Shay and talked about why he thinks Jay isn’t as consistent with making music as he used to be, after the NFL Hall of Famer mentioned that the legendary rapper is more known these days for his business acumen.

“Jay always been the businessman,” Bleek said. “If you go back to his first album, second album; around that time, he always was talking about retiring after his first album. Then he was like, ‘I’mma retire after the second album.’ He never wanted to do this and be this glamorous superstar; he wanted to be the biggest businessman. So that’s why, if you see, music is the backbone, but his business is his personality. You know what I mean? That’s who he is: the businessman. And that’s what overshadows the music.”

He added: “Jay needs to be challenged to do music. Not saying that somebody need to diss him or competition. He just feels like there’s no one on his level. When Eminem was making music, Pun was making music, Biggie, 2Pac, those guys, he had competition to be like, ‘Oh, I got to be number one.’ It’s no competition for Jay now, unless he wants to battle me.”

Sharpe also brought up seeing some fans on social media wondering why Jay doesn’t help Damon Dash with his current financial situation, and before he could finish, Bleek immediately cut him off, saying Jay isn’t that type of person. “That’s not Jay,” he said. “I’m just letting you know that right now. I’m his friend, he ain’t giving nothing away to the loved ones. You have to earn it, you gotta work, and then the person who was chopping at his tree for so long, I just don’t see it happening.”

In other Hov business news, his much-publicized Times Square casino bid was denied in a 4-2 vote by the Community Advisory Committee.

You can watch the full conversation below.

Some Taylor Swift fans are so committed, they want to listen to her music 24 hours a day, seven days a week. And now, with a new SiriusXM channel, they can do exactly that.

As announced Thursday (Sept. 18), the broadcaster is launching a program that will be 100% dedicated to the pop star, exclusively playing selections from her catalog. It will run nonstop — as in 24/7 — for nearly a month straight starting Saturday (Sept. 20), “showcasing every era of her music,” according to a release.

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“Taylor Swift continues to not only dominate the music world, but also every aspect of pop culture,” the company’s president and chief content officer, Scott Greenstein, said in a statement. “Her chart-topping, award-winning songs resonate with every generation of listeners, and we are thrilled to deliver our subscribers a place to celebrate their fandom and the new album with the launch of Taylor’s Channel 13.”

The themed channel’s start date will mark 13 days until the arrival of The Life of a Showgirl, Swift’s highly anticipated 12th album. Once the LP is released, the Swiftie station will play the 12-track full-length in its entirety every other hour.

Taylor’s Channel 13 will also feature the voices of fans sharing their personal thoughts and memories on Swift. The channel’s limited run will end on Oct. 19.

“SiriusXM has proudly supported Taylor from the very beginning of her career and championed her artistry every step of the way,” Greenstein continued in his statement. “The channel is a unique destination for fans to connect in a way like never before, hear her music across all eras of her legendary career and celebrate The Life of a Showgirl in a uniquely SiriusXM way.”

Swifties across North America interested in experiencing the nonstop listening party can tune into channel 13 in their cars, or they can subscribe on the SiriusXM app.

An AI-powered artist is climbing the charts and just signed a multi-million dollar record deal. But what exactly is a label buying when they sign an AI-powered artist? 

As first reported by Billboard, record labels took meetings last week with Xania Monet, a little-known R&B act who’s racked up millions of streams. One small wrinkle: Monet is actually an AI-powered creation of a Mississippi woman named Telisha Jones, who writes her own lyrics but uses the AI platform Suno to make them into music. 

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The deal inked by Jones — a multimillion-dollar agreement signed by ex-Interscope exec Neil Jacobson’s indie music company Hallwood Media — marks the latest advance of AI into every corner of American life. But the buzz surrounding the deal, which some of the major labels ultimately backed away from, highlights the legal limbo that music companies and creators face as they adopt the new tech. 

Creators like Jones can secure intellectual property protection on the lyrics and music they write themselves, but that protection depends on the extent to which AI is used in the process — and to what extent they disclose that.  

Earlier this year, the U.S. Copyright Office issued a major report that said using AI as an “assistive tool” for human expression would be fair game, but that copyrights would not be granted where “expressive elements are determined by a machine.” But where does that dividing line sit for any particular song? The report said it needs to be decided on a “case-by-case” basis. 

If a work isn’t copyrighted, there’s no recourse for anyone to be able to protect it in the marketplace, including through takedown requests against others who upload versions to streaming services and attempt to monetize them. There is also a question as to who would be able to collect any royalties from the digital exploitation of such a song, if the question of ownership is unsettled. 

Sources tell Billboard that Xania Monet is confident she owns the rights to both her master recordings and musical compositions, given the amount of human input used to create her music as well as the lyrics. Hallwood Media did not return a request for comment. 

Legal experts say such AI-assisted music raises tricky questions. The lyrics penned by Jones are obviously hers, but her manager says she used a combination of Suno’s model and other live elements to create the music. But that raises a key question: How much human contribution does it take to establish copyrights on an entire song?  

“This strikes me as the central question, and one without a clear answer,” says Kristelia García, a legal scholar at Georgetown University Law Center who testified before Congress last year on this exact issue.

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Suno’s involvement is less complex. Under its terms of service, subscribers of Suno’s premium tiers are given control given full control of songs they create. Such users “own the songs” and “retain the rights to commercial use,” Suno says, “even if you end your subscription.” And in meetings with prospective labels this month, Monet told executives that she owned her recordings as a Suno subscriber, sources say, and she’s been shopping for a publishing partner separately.  

A rep for Suno did not immediately return a request for comment on Monet’s deal. 

Complicating matters further is the unresolved legality of platforms like Suno themselves. Don’t forget: Some labels backed away from offering Monet a deal partly because they’re currently suing Suno — a case that’s part of a trillion-dollar legal battle over whether it’s legal to use vast troves of copyrighted works to create AI platforms. 

In the case against Suno, the labels claimed the company had illegally used existing songs on an “unimaginable scale,” in the process “trampling the rights of copyright owners.” Suno has fired back that it merely analyzes public data to “enable people to make their own new creations” — something it says is clearly protected as a “fair use” of copyrighted works. 

Until those cases are definitively resolved — a process that could take years — they’ll pose another level of uncertainty for any company that might otherwise strike deals for AI music. Why ink a deal with an artist whose music is reliant on a service you’re actively suing, and one that might later turn out to be illegal? 

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Given all that uncertainty, experts say record deals with AI artists might be better understood as an attempt to win publicity in an AI-dominated news cycle, or an effort to secure first-mover advantage in a booming market — perhaps a small price to pay for a future AI-powered superstar.  

“Labels are surely paying for earned media and buzz around such AI ‘artists,’” says Nathaniel Bach, a litigator at the law firm Manatt who’s written extensively about AI law. “Whether fans develop long-term connections with such avatars — or if they are more of a novelty act — remains to be seen.” 

The members of Chilli Beans. spoke with Billboard Japan for the latest installment of its Women in Music interview series. The initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors. This series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.

Chilli Beans. is set to take the stage at Billboard Japan’s Women In Music vol. 3 music event at Billboard Live Yokohama in October. The three-woman band was formed in 2019 and successfully played at the Nippon Budokan in 2024. The three members — Moto, Maika, and Lily, who each had been active as singer-songwriters before coming together as a group — spoke to writer Rio Hirai about the chemistry born from their collaboration and gender discrepancies within Japan’s music industry.

Are there things about you that have changed since your debut in 2019, and things that have remained the same?

Maika: After releasing our fifth EP “the outside wind” in June, I noticed that the things I want to say and the stuff I sing about haven’t changed much since our debut. But while I haven’t changed, I think I’ve grown. It’s like my character has matured, but the core of what I think about and the fundamental parts haven’t changed.

Moto: I still tend to dwell on things get caught up in my own thoughts, but it’s more like a gradual progress toward greater freedom than a painful process.

Do you think it’s because you work as a trio that you’re able to progress towards greater freedom like you say?

Moto: Whenever we perform live, it really feels like we all have our ways of getting into the groove and feeling the vibe. When the three of us come together, even our darker sides become part of our music, and we can say to each other in everyday conversation, “It’s not a bad thing, it’s actually cool.” When that negativity is turned into music, it becomes something like our flavor. That’s when I feel like I’m being accepted.

So you share emotional ups and downs among the members.

Moto: Not in a conscious way, though. We probably just naturally say things like, “I’m feeling like this today.” There’s also that sense of just kind of knowing.

Maika: Maybe we pick up on each other’s moods, like, “She seems down today” or “Did something good happen today?” The two of them offer perspectives and insights that allow me to see my current feelings and situation from angles I couldn’t see on my own. So if I were alone, I might feel dejected about some mistake I made, but if the other two tell me, “That’s so human and cute,” then I can be like, “Oh, I never thought about it that way.” That only happens because there are three of us.

And the accumulation of that has led to growth?

Maika: I think so. The reason why we’ve been able to grow without changing fundamentally is because the way we interpret things has become much broader.

What’s the meaning behind the band name “Chilli Beans.”?

Lily: When the three of us first decided to form a band, we talked about wanting to be a band where everyone could take the spotlight. That’s how we came up with the name. We used to cover songs by Red Hot Chili Peppers, so “Chilli” comes from them, and we added “Beans” to mean “We’re still fledglings and have a lot of room to grow.”

Maika: Naming the band really made us feel like a team, you know?

Bands formed exclusively by women are often categorized as a “girl band” in Japan. What are your thoughts on that?

Maika: We generally state that we’re a “three-piece band” when introducing ourselves. But since we’re all women, we often get categorized as a “girl band,” which makes us think about it quite a bit.

Moto: Personally, I don’t mind either way. We’re just making music as human beings. We want people to take our melodies, the feelings of the moment, the vibes, and connect with them. That’s how we feel like we’re interacting with the people listening to us. So, how people see us is entirely up to them.

Do you ever come up against any gender discrepancies or rigid values when you’re working?

Maika: I think stereotypes and biases are inevitable. I’ve encountered situations where guys say things like, “I’m just not into girl bands,” and we don’t even get a chance to be heard. I love debating, so I’ll ask them, “What do you think about girl bands?” and they’ll have preconceptions like, “I don’t like that bubbly, girly vibe,” or “Their voices are too high-pitched.” I personally believe that it doesn’t matter whether you’re a woman or a man when it comes to music, so I really want people to get to know us.

What do the three of you value most when overcoming great difficulties?

Moto: What you need when you’re facing difficulties isn’t technique or musicality. It’s about getting your true feelings across and also wanting to understand how the other person really feels. When you talk to people face-to-face, you begin to see who they really are, and when honest people connect, you can overcome things together.

Lily: Even when you’re experiencing the same thing, people can feel completely different about it, so I’ve learned that it’s really important not to assume that others must be feeling a certain way. They might be suffering in ways you can’t even imagine, so it’s necessary to clearly communicate, “This is how I feel about it,” and then take time to listen to how the other two feel. I think that speaking based on assumptions is the scariest thing.

Do have any advice for women who’d like to start a band like Chilli Beans.?

Maika: I’d say, “Just try it once.” If I hadn’t auditioned for the opportunity that got me into music, I wouldn’t be doing Chilli Beans. now. Lately, I’ve been really feeling how all these small actions add up to where I am today. I think you’ll enjoy it if you start with your favorite songs. Just try anything first. That way, you’ll figure out whether it suits you or not, and whether you want to keep at it or not.

Moto: Well, I think it’s OK to try putting out what’s inside your head and be disliked for it. For example, if you’re suffering because you feel like you’re a nobody, it’s OK to just express how you feel. I didn’t have confidence at first either, but that’s just who I am, so what can you do? You’re free to express things, so if you have something you want people to hear and you try putting it out there, you might be surprised to find that there will be those who empathize and say, “That’s great!”

Lily: It might actually be pretty good to start telling people around you that you want to be in a band and not just keep it to yourself. I’ve found that when you tell people you trust or the people around you about the direction you want to go or how you feel about something, you can sort of manifest that future in a surprising way.

This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan

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With the long-awaited sequel Spinal Tap II: The End Continues now in theaters, director Rob Reiner joins with co-creators Christopher Guest, Michael McKean and Harry Shearer to take fans on a behind-the-scenes look at the fake history of fictional rock band Spinal Tap in a new book.

On sale for $21.74 (regularly $29) on Amazon, A Fine Line Between Stupid and Clever: The Story of Spinal Tap also takes a look at the making of the original 1984 mockumentary This Is Spinal Tap and how it went from a cult classic to entry into the National Film Registry.

$30 $35 14% off

Buy Now on Amazon

If you’re an Amazon Prime member, you can order now and A Fine Line Between Stupid and Clever will be delivered to your home in less than two days, thanks to Prime Delivery.

Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video, Prime Gaming and Amazon Photos; fast free shipping in less than two days with Prime Delivery; in-store discounts at Whole Foods Market; access to exclusive shopping events — such as Prime Day and Black Friday — and much more. Learn more about Amazon Prime and its benefits here.

The biography is also available at BookShop.org for $32.55 (reg. $35), while A Fine Line Between Stupid and Clever can be purchased at Barnes & Noble priced at $30 (reg. $35). Additionally, B&N has a Rob Reiner-signed copy of the book for $35.

How to buy 'A Fine Line Between Stupid and Clever: The Story of Spinal Tap' online

‘A Fine Line Between Stupid and Clever: The Story of Spinal Tap’

by Rob Reiner

$30 $35 14% off

Buy Now on Amazon

With Christopher Guest, Michael McKean and Harry Shearer


A Fine Line Between Stupid and Clever is also available as an Audible audiobook, which is free to listen to for subscribers only.

If you’re not a subscriber, you can sign up for a 30-day free trial. Audible starts at $14.95 per month and grants you access to one best seller or new release title per month, a library of thousands of podcasts, audiobooks, and originals, exclusive discounts and more. Once signed up, you’ll receive one credit for any audiobook on Audible, including A Fine Line Between Stupid and Clever: The Story of Spinal Tap.

Meanwhile, the Criterion Collection released a new 4K Ultra HD restoration of the original 1984 film. Right now, it’s on sale for $34.99 (reg. $49.95) on Amazon, a 30% savings. The Blu-ray edition is also on sale for $27.99 (reg. $39.99) from the retail giant.

How to buy 'This Is Spinal Tap'

‘This Is Spinal Tapp’

Criterion Collection

$34.99 $49.95 30% off

Buy Now on Amazon

Blu-ray, 4K Ultra HD


Want more? For more product recommendations, check out our roundups of the best Xbox dealsstudio headphones and Nintendo Switch accessories.

Oh, boy. Sabrina Carpenter is locked in to make her hosting debut on Saturday Night Live, and she says the show has no idea what’s coming for it.

The singer was announced as one of SNL‘s next guest stars on Thursday (Sept. 18), with NBC revealing that she will pull double duty as both the host and musical guest of its Oct. 18 episode. Bad Bunny and Amy Poehler will also host episodes at the beginning of the upcoming season — which kicks off Oct. 4 — while Doja Cat and Role Model will serve as the first two musical guests.

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Shortly after the news was unveiled, Carpenter shared it on her Instagram and wrote, “they’re gonna regret this.”

The Grammy winner’s hosting debut has been a long time coming. She first appeared on the show in May 2024 to perform her breakthrough single “Espresso,” a few months after which she joined in on SNL‘s 50th-anniversary festivities to perform “Homeward Bound” with Paul Simon and star alongside Pedro Pascal in a hilarious “Domingo” sketch.

Now, Carpenter will return to 30 Rock with a brand-new album under her belt, with Man’s Best Friend dropping in August. Featuring Billboard Hot 100-topping lead single “Manchild,” the project debuted at No. 1 on the Billboard 200, marking Carpenter’s second album to do so.

“you guys have made Man’s Best Friend my second #1 album and my highest debut ever,” she reacted on Instagram at the time. “that is very surreal!!! i feel so lucky to have such beautiful love and support all around me … to see the way you are all resonating with it just makes me feel like the luckiest girl in the world.”


  

Stefon Diggs has spoken out publicly for the first time since Cardi B revealed she’s pregnant with her fourth child and first with the NFL star.

The New England Patriots receiver was asked about the pregnancy during a press conference following practice on Wednesday (Sept. 17), and Diggs attempted to play coy.

“Oh, my personal life? I told you about that. We don’t talk too much about my personal life,” Diggs said. “But, I heard about that.”

Diggs shed more light about his thoughts regarding the pregnancy while commenting on a Cardi B Instagram post from Wednesday (Sept. 17), where The Bronx bombshell spoke about her upcoming Little Miss Drama Tour.

“Proud of you for staying focused ,” he said. “100% team boy… Thinking of Spanish names.. right now.”

Cardi B revealed she was pregnant with baby No. 4 during an interview with Gayle King for CBS Mornings on Wednesday.

“Yes, I am [pregnant]. I’m having a baby with my boyfriend, Stefon Diggs,” she said. “I’m excited. I’m happy. I feel like I’m in a good space. I feel very strong. I feel very powerful that I’m doing all this work. But I’m doing all this work while I’m creating a baby, and me and my man, we’re very supportive of each other.”

Cardi’s currently gearing up for the release of her sophomore album Am I the Drama?, which will hit streaming services on Friday (Sept. 19).

Cardi and Diggs began dating at the top of 2025 and went public with their relationship in May.


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Margo Price had no idea when she performed on Jimmy Kimmel Live on Tuesday (Sept. 16) that she would be its last musical guest before ABC’s controversial decision to suspend it this week — but at least she helped the show go out with a poignant message.

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In a Thursday (Sept. 16) post on Instagram, the country star shared a clip from her performance of “Don’t Let the Bastards Get You Down” on the late-night show and wrote, “If this was the last word, I’m glad it was mine.”

The lyrics Price sings in the clip are extra meaningful now. “Keep all them fascists underground,” she sings in the video, passionately strumming a guitar. “Don’t let the bastards get you down.”

Her post comes one day after ABC announced that it was “indefinitely” shutting down Kimmel after the late night host made comments during his monologue on the episode featuring Price’s performance. Jimmy Kimmel’s contested remarks had been in response to the assassination of Turning Point founder and polarizing political commentator Charlie Kirk the week prior.

“We hit some new lows over the weekend with the MAGA gang desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it,” Kimmel had said on the program.

After the comedian’s comments, Nexstar — which owns 28 local affiliate stations of NBC — announced that it would be suspending Kimmel for the immediate future. Shortly before that, Federal Communications Commission chair Brendan Carr had threatened to revoke the licenses of any network affiliates choosing to air Kimmel’s remarks, which he referred to as “news distortion” and “the sickest conduct possible.”

And while ABC’s suspension of Kimmel has prompted an outcry of concern that the decision directly infringes on free-speech laws, President Donald Trump celebrated the news with a post on Truth Social.

“Congratulations to ABC for finally having the courage to do what had to be done,” he wrote Wednesdsay (Sept. 17). “That leaves Jimmy (Fallon) and Seth, two total losers, on Fake News NBC. Their ratings are also horrible. Do it NBC!!!”


  

Ticketmaster remains the most dominant force in ticketing, but anyone shopping for a new provider in the past 18 months knows the market is far from a one-horse race. What was once a straightforward decision based largely on technology has become a far more complex calculation. Factors to weigh include marketing strategy, branding and fan engagement. And increasingly, venues view ticketing companies as long-term partners in addition to service providers.

A yearlong battle with the Department of Justice (DOJ) over antitrust concerns has loosened Ticketmaster’s hold on the reserved-seating business and opened the door for competitors like AXS, which is owned by AEG, and SeatGeek, which has grown its enterprise platform by signing major sports clients.

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Meanwhile, the general-admission ticketing business, which serves clubs, theaters and festivals across North America, has never been more competitive. More than a dozen companies are vying for market share, from Eventbrite, Tixr, Etix and VenuePilot to brands recently acquired by larger players. See Tickets was purchased last year by German giant CTS Eventim, while indie favorite Dice was acquired by Fever in June.

For venue executives, this abundance of choice is both a welcome development and a new source of stress. Each platform offers a different value proposition: Some emphasize reach and scale, others focus on brand control and data transparency, while a newer wave prioritizes anti-scalping tools and mobile-first discovery. The real challenge is finding the partner that best aligns with a venue’s long-term vision.

Ticketmaster Vs. AXS

For much of the past two decades, Ticketmaster has dominated by sheer scale, processing hundreds of millions of tickets annually and maintaining a direct pipeline to buyers that competitors couldn’t match. Venues often accepted compromises — around fees, revenue splits and branding — because Ticketmaster’s reach was unmatched.

The 2010 merger with Live Nation strengthened Ticketmaster’s position but also sparked a movement among independent venues searching for alternatives. As part of the merger conditions, the DOJ helped prop up AXS as a competitor. But growth was slow, hampered by disagreements among early owners, including TPG Capital and QuickBooks founder Dan Gilbert.

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While AXS struggled, Ticketmaster expanded rapidly, rolling out dynamic-pricing modules, secure digital ticket tokenization and verification tools for artist presales. Its biggest advantage, though, was visibility: The Ticketmaster site became the unofficial front page of live music, a default discovery and transaction platform for millions of fans.

Over the past 18 months, however, Ticketmaster has faced mounting public scrutiny and a multistate antitrust lawsuit brought by the DOJ and dozens of attorneys general. AXS, now fully owned by AEG since 2019, has taken advantage of the opening. The company has positioned itself as a venue-focused platform with innovative anti-scalping features, including its widely adopted digital waiting room to manage high-demand on-sales and prevent bot-driven purchases.

AXS has also grown its own ecosystem of fans. While it doesn’t yet match Ticketmaster’s built-in demand, it is steadily gaining traction and credibility.

The Indies: Solutions For The Midmarket

“There are a lot of ticketing companies out there that can do many different things, but the one thing we shouldn’t expect from them is to act like banks,” says Thomas Cussins, CEO of Ineffable Music, which uses five different systems across its 10 California venues.

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Many platforms offer upfront payments and signing bonuses to lure promoters, but Cussins warns that relying on this financing only raises long-term costs. “We have to accept that there is a cost for the hardware and a cost for the software,” he says.

For midsize arenas, fairgrounds and expos, companies like Etix, Eventbrite and Tixr provide fully featured ticketing solutions without the overhead of major enterprise platforms.

Etix, based in Raleigh, N.C., blends traditional box-office support with mobile scanning, customer relationship management plugins and sponsorship tools. It’s popular among established promoters for its flexibility, cost transparency and attentive service.

Eventbrite, headquartered in San Francisco, powers a DIY platform favored by small promoters, local organizers and pop-up events. With minimal onboarding, users can create events in minutes and manage them without relying on a sales team.

VenuePilot, launched during the pandemic by Justin Kantor, co-founder of venue Le Poisson Rouge in New York, has grown among independent clubs and performing arts centers. It emphasizes data ownership and revenue clarity but offers fewer customization and discovery tools compared with larger platforms.

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The Mobile Revolution

No companies have generated more buzz over the past two years than Dice and Tixr.

Dice has built a reputation as a discovery-first platform, leveraging integrations with Spotify and Apple Music to recommend shows, notify fans about low inventory and alert them when tickets for their favorite acts become available. Its acquisition by Fever — a fast-growing live-experiences marketplace — has expanded its reach globally. Now connected to fans across nearly 100 markets, Dice brings venues demand they could never generate alone.

Tixr has positioned itself as a design-driven, white-label alternative that gives venues a fully branded ticketing environment. Its “experience-layered” model lets fans bundle tickets with merchandise, food and beverage credits or VIP upgrades in a seamless purchase journey. While Tixr lacks Ticketmaster’s discovery engine or Dice’s global reach, its user experience is highly regarded by venues that prioritize brand control.

The Takeaway

There has never been a more diverse or dynamic moment in ticketing. Ticketmaster still holds the upper hand in scale and sales volume, but competitors such as AXS, SeatGeek, Dice/ Fever and Tixr have reshaped the conversation. For some venues, Ticketmaster’s reach and infrastructure will remain irresistible. For others, especially those seeking brand ownership, mobile innovation or stronger anti-scalping tools, new options are increasingly compelling.

Most importantly, ticketing is no longer just an operational decision. It’s a public-facing part of the fan experience. When someone buys — or struggles to buy — a ticket, that interaction reflects directly on the venue itself.

And in 2025, with fans both savvier and less forgiving than ever, the quality of that experience could mean the difference between a lifelong customer and a lost opportunity.


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Even as Drake and LeBron James’ once-strong bond has evolved over the past year and a half, the legendary basketball star is making it clear that he still has plenty of respect for the rapper.

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The Lakers forward addressed his current relationship with Drizzy during a 360 interview with Complex‘s Speedy Mormon on Thursday (Sept. 18), and while things appear to be icy between the pair of superstars, it’s still love from King James’ side.

“Always wish him the best,” James said. “Obviously [we’re in] different places right now, currently. He’s doing his thing, I’m doing mine, but it’s always love for sure.”

LeBron and Drake were cool dating back to Drizzy’s So Far Gone era in 2009. In 2023, Drake even walked to the stage through the crowd with James and his son, Bronny, following Bronny’s health scare during an L.A. show on his It’s All A Blur Tour.

Things appeared to change following Drake’s battle with Kendrick Lamar, when James pulled up to Kendrick’s Pop Out concert last June, which Drizzy seemed to take personally when he let his displeasure with James be known while seemingly sniping at him on a pair of tracks. His leaked “Fighting Irish Freestyle” appeared to take shots at LeBron and those who crossed him.

“The world fell in love with the gimmicks, even my brothers got tickets, seemed like they loved every minute/ Just know the s–t is personal to us and wasn’t just business/ Analyzing behavioral patterns is somewhat suspicious,” Drake raps on the Conductor Williams-produced track.

Drake may have addressed LeBron again on July’s “What Did I Miss?” track, as he called out a friend who attended the Pop Out show. “I saw bro went to Pop Out with them, but been d—k riding gang since ‘Headlines,’” he spews.

The 6 God’s LeBron James high school jersey tattoo is no more, after Drake covered up the ink with a tattoo representing Canada’s own NBA MVP and Oklahoma City Thunder champion Shai Gilgeous-Alexander.

It remains to be seen if Drake will have any more bars for James on his upcoming Iceman album.

Watch the full interview below. Talk about Drake takes place around the 15:40 mark.