On Tuesday (Aug. 5), AI audio company ElevenLabs announced the launch of Eleven Music, an AI model that allows users to create music from written prompts. The resulting songs, which can include vocals and instrumentals, can be employed for commercial uses.

ElevenLabs also announced that it has struck licensing deals with Merlin and Kobalt to train this forthcoming model. As part of the deal, members of Merlin — a digital licensing organization, representing 30,000 independent labels and distributors — and signees of independent publishing giant Kobalt can opt in to allowing their works to be used in AI training in exchange for royalties. For now, the only artists/songwriters eligible to participate are those whose master recordings and publishing copyrights are 100% controlled by Merlin members and Kobalt. Because those creatives must choose to take part in AI training, it’s still unclear which songs will be part of the Eleven Music licensing catalog.

Today, Eleven Music’s first model is available for use, but a source tells Billboard that the Eleven Music Pro model, which will be trained on those Merlin and Kobalt rights holders who opt in, is expected to debut in the coming weeks or months.

This isn’t the first time ElevenLabs has struck a licensing deal with a music company for its new model. ElevenLabs has already signed deals with Landr, an AI-focused music production and distribution platform, and SourceAudio, a synchronization licensing platform that hosts millions of songs, including production music and licensed works from indie labels.

According to an email to Kobalt signees obtained by Billboard, “the basic concept” of the new Eleven Music model is “to help power a scalable, AI-driven production music library that creates custom audio for studios, brands and creators. It’s not meant to replace traditional uses of [one’s] repertoire, but to add value alongside them.” Use cases for the Eleven Music model are listed as “background music for brands, agencies and studios,” “novelty songs” and “UGC-safe content for social platforms.”

Some music generated by Eleven Music is permitted on streaming services, but it depends on what subscription tier the user has signed up for. There are seven such tiers of Eleven Music: Free, Starter, Creator, Pro, Scale, Business and Enterprise. Under the Free, Starter and Enterprise plans, distribution to streaming services of any music generated by the model is prohibited.

Kobalt’s deal with ElevenLabs has a worldwide remit and the term lasts for two years. Participants will receive a “pro-rata share of a royalty pool based on how many of [the artist/songwriters’] works were used to train the [Eleven Music] model relative to others.” A source close to the deal explains that this means participating artists/writers will receive royalties relative to how many songs they represent in the overall dataset.

The results are then “weighted using digital proxies,” which the source says means that the royalty payouts don’t just take into account how many songs one has in the dataset — it also accounts for the popularity of those songs, determined by looking at their metrics on other digital platforms. The source declined to specify exactly what Kobalt’s “digital proxies” were.

Kobalt’s email also notes that there are safeguards in place with the Eleven Music model, including:

For music publishers, the inclusion of the MFN clause in Kobalt’s deal is particularly notable. With that stipulation, Kobalt has ensured that their copyrights are going to be valued equally to those of any label or publisher that strikes a deal with ElevenLabs. Historically, publishers and songwriters have often earned a lesser royalty rate than that enjoyed by record labels and artists, and as chatter around AI licensing has grown, David Israelite, president/CEO of National Music Publishers’ Association (NMPA), has been outspoken about how AI could be a new opportunity for publishers to set equal licensing rates. “I believe the most important principle is that the song is just as valuable, if not more, than the sound recording in the AI model,” Israelite told a room of indie publishers at the Association of Independent Music Publishers (AIMP) meeting in April 2025.

Less is known about the nature of Merlin’s specific deal with Eleven Music, although a source says that Merlin’s contains similar safeguards and a similar remuneration structure to Kobalt’s. All of Merlin’s deals operate on an opt-in basis.

Kobalt did not respond to Billboard‘s request for comment. ElevenLabs replied, pointing to the company’s press release and blog post about the subject. Merlin replied with a statement from its CEO, Jeremy Sirota: “The consents, compensation, and guardrails we built into this partnership — in strong collaboration with ElevenLabs — all reflect our mission to ensure artists’ work is respected, appropriately valued, and protected.”

In an interview with Bloomberg Live on Tuesday morning (Aug. 5), ElevenLabs CEO/co-founder Mati Staniszewski dodged a question about whether or not the company was also in licensing talks with the three major music companies — Sony Music, Universal Music Group and Warner Music Group — saying only that “currently the focus was on bringing the current model and product to the market. So really, we’re deep with our partners — with Merlin, Kobalt, Source Audio and a number of other partners that aren’t mentioned in the release — to bring the current product to the market, iterate, we will see whether we can expand.”

At another point in the interview, Staniszewski said: “Of course, as we look into the future, we would love to work with UMG, WMG, Sony, and I hope we find a path in the future to do so. As we think about our work across Eleven Music, that’s one of the key elements: to make sure that the work we do is both licensed, but also gives you that broad commercial license to use it.”

The press release about the launch of Eleven Music also included statements of support from Staniszewski, Sirota and Laurent Hubert (CEO of Kobalt). They are listed below:

“As an AI audio company, expanding into music was a natural progression, and we are thrilled to introduce Eleven Music today,” said Staniszewski. “We’ve heard massive demand from our enterprise partners and users for a music model like this and we took our time to ship one that we’re certain they’ll love. We’re proud to do so in collaboration with music industry partners who recognize the vast benefits and possibilities of AI innovation in music.”

“We are excited to partner with ElevenLabs,” said Sirota. “As we navigate the transformative yet challenging opportunities that AI presents, it is core to Merlin’s mission that we work with partners who respect the extraordinary cultural contribution of our members, their artists and their music. We will be very deliberate about who we work with and have been in conversations with many companies in this space. Our partnership with ElevenLabs demonstrates that music rightsholders can negotiate thoughtful, forward-looking agreements with AI companies. Together, we have created responsible guardrails that showcase how AI companies and music rightsholders can collaborate. We look forward to sharing further announcements as we work together towards the launch of Eleven Music Pro.”

Hubert added, “Our songwriters and clients entrust us to ensure that the AI revolution includes both strong protections for their intellectual property rights for AI training, as well as forward-looking and thoughtful opportunities to participate in AI revenue streams, subject to clear and fair guardrails. ElevenLabs has been a collaborative partner, committed to sourcing data directly from rightsholders and protecting them. We are excited about this partnership and seeing ElevenLabs become a pioneer in licensing premium music for their Music Pro offering. Kobalt looks forward to working with our songwriters and partners who wish to be part of this opportunity with ElevenLabs.”

After a tumultuous 2024, Drake largely stabilized his standing throughout 2025’s first half, with his Billboard 200-topping PartyNextDoor teamup LP $ome $exy $ongs 4 U and its Billboard Hot 100 No. 2-peaking breakout hit “Nokia.” Now, he’s trying to reclaim his top-dog status with his upcoming Iceman album — starting with the advance singles “What Did I Miss?” and “Which One.”

Whether Drake will be able to climb back to his early-decade perch, however, is unclear from the early response to those two singles. “Miss” had a strong No. 2 debut on the Hot 100 but has slid out of the top 30 in the three weeks since, while “Which One” (featuring star U.K. rapper Central Cee) bows at No. 23 this week.

Are either of these two songs likely to last as a hit? And how imperative is it that Drake score a Hot 100 No. 1 at some point on this album cycle? Billboard staffers discuss these questions and more below.

1. Drake’s lead Iceman single “What Did I Miss?” debuted at No. 2 on the Hot 100 four weeks ago, and has since slid out of the top 30. Has that performance been better, worse, or about what you would have expected for the song? 

Kyle Denis: It’s a bit worse than I expected, and I wasn’t expecting too much to begin with. I enjoy “What Did I Miss?” I think it’s a solid record, and it’s nice to hear Drake straight-up rapping with his back somewhat against the wall. But the song lacks the magnetism that a lead single should have; the hook is also on the weaker side, and the music video isn’t much to write home about. I’m not surprised that casual listeners haven’t bought into the song.  

Carl Lamarre: Just about right. The song is a safe Drake record: catchy barbs laced with his usual shoot-first energy. For Drake, a chart slip like this raises an eyebrow, but it’s not panic-worthy. After all, he delivered one of Q1’s hottest songs with “Nokia.” People love to circle Drake’s missteps — whether it’s Pusha or Kendrick — but tracks like “Nokia” and “Somebody Loves Me” prove that when needed, he can still swing for the fences.

Jason Lipshutz: About what I expected. “What Did I Miss?” is more of a reaction than a bid for a summertime hit, with Drake tossing out wounded, provocative bars rather than hooks that continue the crossover momentum of his spring smash “Nokia.” A song like “What Did I Miss?” is designed to trigger a sprint to your streaming service of choice on the night it’s released, not persist on hip-hop radio for weeks on end — hence, the reason why the song blasted into the runner-up spot on the Hot 100 upon its release, and has since slid down the chart.

Michael Saponara: The debut feels about right, but I thought it would have more legs through the rest of the summer and hold strong around the top 10 to 20. “What Did I Miss?” had the right intentions. I felt like Drake had plenty to get off his chest and this was a proper launch into the Iceman era. 

Andrew Unterberger: Better than I expected at first, worst after. A No. 2 debut was more than acceptable for this song, but falling as precipitously as it has in the weeks since — despite an official music video, a performance at Drake’s headlining appearance at Wireless Festival and his online grousing about debuting one spot short of the goal — is sorta telling.

2. “Which One,” featuring Central Cee, debuts at No. 23 on the Hot 100 this week. Do you think Drake should be concerned about a debut outside of the top 20, or is it understandable for this song at this point in his album cycle?  

Kyle Denis: For what it’s worth, “Which One” is this week’s highest new entry on the Hot 100. Nonetheless, it’s difficult for me to wrap my head around a new Drake song — particularly one that’s this catchy and features one of the hottest new rappers of the 2020s — not just debuting outside of the top 20, but also behind several holdover hits from the previous year. “Which One” was never going to debut at No. 1, but a top 10 debut, at least, should have been guaranteed.  

Carl Lamarre: A little of both. If my batting average looked like Drake’s — a.k.a the all-time Hot 100 hit leader — I wouldn’t be too stressed about it. That said, Team Drake probably misread this record’s hit potential. And because expectations are higher than ever, anything shy of 2018’s dominance (“God’s Plan,” “In My Feelings,” “Nice For What”) feels like a miss. As much as I can scream about “Nokia” being both a chart and cultural banger, the fact remains: his last solo No. 1 was 2021’s “What’s Next.”

Jason Lipshutz: Considering his record-setting track record as a Hot 100 fixture, Drake should not be concerned with any chart debut, much less that of a collaborative track that’s not a lead single to a new project. “Which One” pairs Drake with Central Cee, at a moment in which the London rapper is continuing to make strides in North America… but the song itself is too weak to make for any sort of blockbuster team-up, and doesn’t cater to either of their strengths. “Which One” might be a missed opportunity, but I don’t think the song speaks to any macro trends with regards to Drake’s commercial viability. 

Michael Saponara: This was where Drake lost me a bit. With so much riding on Iceman and the momentum heading into the project, I was hoping he’d go with something in the chamber that felt bulletproof or more undeniable when it comes to being a hit that can live in the Iceman zeitgeist. A debut outside the top 20 feels like that message was sent as well.

Andrew Unterberger: I mean… it’s not great! I doubt anyone expected another No. 2 debut, but I think most Drake fans would’ve expected the song to settle somewhere into the lower half of the top 10. Then it looked like they were gonna have to settle for the lower half of the top 20. Now it appears even that was optimistic. And it’s not like the song got buried under an album bomb from a much-anticipated drop; this was the week’s highest-debuting song. It’d be one thing if “Which One” was a tossed-off rant or stream-of-consciousness diary entry clearly not meant for mass appeal, but this was clearly made with global pop intentions. (Though to be fair, it at least did do a little better on that front, bowing at No. 14 on the Global 200.)

3. Do you see either of these two songs sticking around the Hot 100 and in the culture for the rest of the summer? Which one is more likely to have that endurance? 

Kyle Denis: I still expect “Which One” to build into a sizable late summer hit, especially if radio latches onto it. In terms of the Iceman rollout and Drake’s post-beef narrative, however, I think “What Did I Miss” will ultimately prove to be the more important song of the two.  

Carl Lamarre: No. The bar is too damn high. Drake doesn’t get to drop “solid” or “cool.” Reality is, he has to drop anthems. If this rollout is meant to be an OVO opus, he’ll need to recalibrate. Neither of these records will get him there. Maybe “Which One” sneaks into OVO Fest via a fire video, but I wouldn’t bet on it.

Jason Lipshutz: “What Did I Miss?” at least captures Drake at a specific moment in time — picking up the pieces following a public spat with Kendrick Lamar, side-eyeing those he thought he could trust — and is compelling as both a historical document and a rare showcase of his vulnerability. Neither song will define Drake’s musical output in the way that “Nokia,” his most downright fun hit in years, has already lodged secured its spot on the list of his months-running smashes, but “What Did I Miss?” is more memorable than “Which One,” for sure.

Michael Saponara: I don’t see much traction for either remaining chart-friendly, but “What Did I Miss?” feels as if it could have some more juice tied to the themes of Iceman and the rest of the rollout. 

Andrew Unterberger: Seems to me like the people have spoken about these two. Could be wrong, but I imagine Drake will regroup and move on from them pretty quickly.

4. Though No. 1 Hot 100 debuts were nearly automatic for Drake for most of the 2020s, the best he’s done this year is No. 2 (for both “Nokia” and “What Did I Miss?”). Is it important for him to end the year with at least one No. 1 song, or is he fine peaking with a couple of No. 2s considering how low he seemed to have fallen last year?  

Kyle Denis: Considering this is a rapper who has gloated about “having more slaps [Hot 100 top 10 hits] than The Beatles” and celebrated tying Michael Jackson for the most Hot 100 chart-toppers amongst male soloists, a No. 1 before 2025 ends is absolutely important. In a perfect world, the longevity of “Nokia” alone should have put all this conversation to bed. But when you consciously align your brand with commercial success, specifically No. 1 singles, you’re forever held to that standard. 

Carl Lamarre: Let’s be real: Drake literally called out Alex Warren for blocking his No. 1 debut with “What Did I Miss.” He’s not in the game for second place. Silver medals don’t mean much to Drizzy Drake Rogers. And while his 15-year run doesn’t get enough credit, the vultures have been circling, waiting for a slip. Drake’s story is built on dominance — on breaking Billboard. To settle for anything less than No. 1 isn’t just a loss, it’s off-brand. He’s not here to play in the Finals, the brother is here to hoist trophies.

Jason Lipshutz: “Nokia” represents a far more significant achievement than a random Drake song debuting at No. 1 on the Hot 100 and then quickly fading from memory. Following the Kendrick Lamar feud last year, Drake scoring another major pop smash in the near future seemed wildly unlikely — but with “Nokia,” listeners sniffed out the most joyful moment on $ome $exy $ongs 4 U and turned it into a top 10 mainstay. Battle lines were drawn across popular hip-hop last year as Drake and Kendrick Lamar exchanged diss tracks, but casual rap fans would rather replay exciting singles than pledge undying allegiance to one side of a feud; even though it likely won’t reach the top of the Hot 100, “Nokia” proved that, regardless of his “performance” in that feud, Drake can still produce a modern mega-smash.

Michael Saponara: Historically, a No. 1 hit would be huge as it would break his tie with Michael Jackson and give him the most Hot 100 chart-toppers of any male solo artist, which would certifiably stamp his comeback post-beef and give him another notch on his Chrome Hearts belt with some hardware to go along with it. 

However, not all hits are the same. Yes, the stats are great, but a song like “Nokia” had a months-long buzz and is a club hit with more cultural relevance and cachet than some tracks we see launch at No. 1, and quickly fall off the face of the earth with no impact. So even though it “only” reached No. 2, I believe that can outweigh the shooting star at No. 1 that’s nowhere to be found in the weeks to follow. 

Andrew Unterberger: “Nokia” was exactly the song that Drake needed this year, and I think it was totally fine that it only peaked at No. 2 — hell, so did its spiritual predecessor “Hotline Bling” a decade ago. Drake loves No. 1s of course, but he didn’t need one, at least not at that point. And he probably still wouldn’t, if he hadn’t publicly called out Alex Warren and promised that he’d be “taking that [No. 1 spot] soon don’t worry one song or another. Rule changes and all.” Now he’s at risk of fairly major embarrassment if he can’t put his money where his mouth is — and while it’s been historically inadvisable to bet against Drake on the charts, he’s moving in the wrong direction so far.

5. Plot out what your vision for the perfect third single from Iceman would consist of.

Kyle Denis: I think Drake has gotta get back with the ladies again. It could be cool to see him lock back in with 40 for a “Take Care”-esque midtempo to carry us into the fall. Ideally, he offers a more mature reflection on the state of his romantic life and gets someone like Mariah the Scientist on the hook to nod to a new class of R&B stars. In a timeline with a more daring Drizzy, I’d love to see what he and PinkPantheress could cook up. I feel like they could really surprise us! 

Carl Lamarre: Drake x Travis. Time to run back “Sicko Mode” 2025 Edition and shake the globe again.

Jason Lipshutz: More “Nokia,” all the “Nokia.” Just ride the vibe of the genuinely euphoric hit that brought you back onto pop radio! I’ll take “Motorola,” followed by “Blackberry,” please and thank you, Drake.

Michael Saponara: Time stamp Drake. Conductor Williams beat. Go time.

Andrew Unterberger: One rapper, one producer, one hook, one subject and — most importantly — one beat. Drake gives us a focused pop song and the sky is still the limit.

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Tables are obviously meant to be functional pieces, but who says they can’t be fun too?

The ShopBillboard team was scrolling and came across this nifty Barrington table retailing for $626.31 at Walmart. Functional and unique, this it caught our collective eye because it converts into a table tennis arena and pool table in seconds, unlocking endless fun for friends and family. If you aren’t in the mood for a competitive game of pool or a heart-pounding table tennis match, the table converts back into a sophisticated dining table.

It’s all thanks to the removable top, which measures 73.75″ L x 41.75″ W x 31.75″ H, and can be switched out depending on the mood. The secret to this table’s lasting success? Its construction. The scuff- and scratch-resistant PVC laminate the table is made of is perfect for rowdy or accident-prone kids and adults. The table also features a maple finish that creates an elegant and stylish quality without sacrificing durability.

The table also comes equipped with two faux leather padded benches that make a great spot to sit for dining or cooling off post game. If that wasn’t enough, you’ve also got an added rolling caddy that matches the table’s woodgrain design and conveniently stores all your game accessories. Speaking of game accessories, this table comes equipped with everything you need to play a round of pool or table tennis, including two 48-inch pool cues, one mesh net and post, one set of billiard balls, two table tennis paddles, two tennis balls, one plastic triangle, two chalks and one table brush.

To ensure the best matches possible, the billiard playfield is made of durable polyester felt that ensures smooth and consistent ball roll every time. The included bumpers deliver true and accurate ball bounce during each game. For a one-on-one match of table tennis, simply set up the included net and get to playing. The transformative quality of this piece allows users to maximize their spaces. We can see this dining table becoming a staple piece for readers with smaller spaces looking for more mileage out of their furniture.

Of course, hybrid tables with built-in compartments aren’t a new concept. If this Barrington model didn’t catch your eye, we’ve compiled a short list of alternative tables from Amazon and Urban Outfitters that we’re sure you’ll like.

Other Options We Recommend

This article was created in partnership with White Claw®.

Chicago’s biggest festival weekend started extra early for dance music fans in the area, who lined up around the block in the Fulton Market neighborhood for a special performance by Loud Luxury at White Claw Sessions Powered by Billboard. The Canadian producer-DJ duo, consisting of members Andrew Fedyk and Joe Depace, teed up banger after banger, keeping the crowd moving with a playful dance-pop set incorporating throwbacks, current hits, and selects from their discography.

Before Loud Luxury hit the stage, White Claw Next Wave artists Paco Versailles—a rising duo blending flamenco instrumentation with disco-inspired sounds— warmed up the crowd with their ‘Dancemenco’ performance. 

Loud Luxury had an explosive start to their set: cryo jets blasted in front of the stage as Depace and Fedyk took their respective places behind the booth, teasing fans with a portion of their biggest hit, “Body.” As they mixed fan-favorite hits like “If Only I” (feat. Bebe Rexha) and their “Sunroof” remix, they kept fans on their toes, surprising them with playful transitions to a mix of fun pop throwback songs and new, unreleased IDs. Two remixes stood out to fans who were jumping throughout the crowd: a rework of Shania Twain’s “Man! I Feel Like A Woman!” and a dance-friendly version of Justin Bieber’s “DAISIES,” which Fedyk said the duo flipped before the show.

Fans kept their spirits high with a variety of White Claw flavors. On top of original White Claw Hard Seltzer, Clawtails by White Claw, and White Claw Zero Proof flavors, there were two custom cocktail options featuring White Claw Vodka: The “Afterparty Martini” espresso martini and the “R U Down For Mango?” mango mule, inspired by a Loud Luxury track. When fans weren’t dancing and enjoying their drinks, they had the opportunity to snap photos with their friends in a fish-eye photo booth and grab Loud Luxury x White Claw tote bags to commemorate the night.

From can’t-miss shows and fly-away festival experiences to partnerships with top charting artists and exclusive fan giveaways, White Claw is no stranger to the largest moments in music. White Claw Sessions Powered by Billboard will continue to bring fans closer to the music they love throughout 2025. Don’t miss your opportunity to Grab Life By The Claw: make sure you’re signed up for White Claw Shore Club to be notified about upcoming all-access gigs, epic drops, and community vibes for you and your crew.

See photos from the event below.