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AC/DC Add 2026 Dates to Power Up Tour
Music

AC/DC Add 2026 Dates to Power Up Tour

by jummy84 November 3, 2025
written by jummy84

AC/DC have added 2026 dates to their ongoing Power Up Tour. The newly announced shows take place across North and South America. See the band’s upcoming tour dates below.

AC/DC have ostensibly been touring in support of their latest studio album, November 2020’s Power Up. The lineup on the tour has featured lead guitarist Angus Young, vocalist Brian Johnson, rhythm guitarist Stevie Young, drummer Matt Laug, and bass player Chris Chaney.

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AC/DC:

11-12 Melbourne, Australia – Melbourne Cricket Ground
11-16 Melbourne, Australia – Melbourne Cricket Ground
11-21 Sydney, Australia – Accor Stadium
11-25 Sydney, Australia – Accor Stadium
11-30 Adelaide, Australia – Adelaide Street Circuit (BP Adelaide Grand Final)
12-04 Perth, Australia – Optus Stadium
12-08 Perth, Australia – Optus Stadium
12-14 Brisbane, Australia – Suncorp Stadium
12-18 Brisbane, Australia – Suncorp Stadium
02-24 São Paulo, Brazil – Estádio do MorumBIS
03-11 Santiago, Chile – Parque Estadio Nacional
03-23 Buenos, Aires – Estadio River Plate
04-07 Mexico City, Mexico – Estadio GNP Seguros
07-11 Charlotte, NC – Bank of America Stadium
07-15 Columbus, OH – Ohio Stadium
07-19 Madison, WI – Camp Randall Stadium
07-24 San Antonio, TX – Alamodome
07-28 Denver, CO – Empower Field at Mile High
08-01 Las Vegas, NV – Allegiant Stadium
08-05 San Francisco, CA – Levi’s Stadium
08-09 Edmonton, Alberta – Commonwealth Stadium
08-13 Vancouver, British Columbia – BC Place
08-27 Atlanta, GA – Mercedes-Benz Stadium
08-31 Houston, TX – NRG Stadium
09-04 South Bend, IN – Notre Dame Stadium
09-08 St. Louis, MO – The Dome at America’s Center
09-12 Montreal, Quebec – Parc Jean-Drapeau
09-16 Toronto, Ontario – Rogers Stadium
09-25 East Rutherford, NJ – MetLife Stadium
09-29 Philadelphia, PA – Lincoln Financial Field


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November 3, 2025 0 comments
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Marshall team up with Music Venue Trust to champion 60+ local artists in grassroots venues
Music

Marshall team up with Music Venue Trust to champion 60+ local artists in grassroots venues

by jummy84 November 3, 2025
written by jummy84

Marshall has teamed up with the Music Venue Trust (MVT) to roll out an initiative championing grassroots music – check out all the details below.

In collaboration with MVT, Marshall is set to deliver a nationwide series of more than 20 gigs. Dubbed Marshall Nights, each will shine a spotlight on emerging talent, with the tour featuring over 60 rising artists.

In a bid to support emerging talent as well as the local scenes that support them, performances held at grassroots venues across the country will kick off at Brighton’s Green Door Store, and hit Cardiff’s Fuel, Glasgow’s Rum Shack and Sheffield’s Yellow Arch.

The move builds on Marshall’s history of protecting grassroots music. As highlighted in a press release, Marshall co-founder Terry Marshall and his wife Leslie personally donated £100,000 to support MVT’s ‘Own Our Venues’ campaign, itself an effort to protect local music spaces by bringing them into community ownership.

That year, Marshall also supplied backline equipment to more than 20 grassroots music venues.

Speaking about the Marshall Nights, Denzil Thomas, partnerships manager at MVT, said: “Grassroots Music Venues are the lifeblood of the UK’s music ecosystem, they are where artists take their first steps, and where fans fall in love with live music.

“We’re proud to partner with Marshall, a brand that embodies the sound and spirit of live performance, to keep these vital spaces alive.”

Kevin Penney, Marketing Director at Marshall EMEA went on to add: “Marshall was born from the live stage, and that’s where we belong. Grassroots venues are where every great band starts, and we’re proud to help keep those stages alive for the next generation of artists and fans.

“This isn’t just about sound, it’s about community, creativity, and giving back to the music that made us.”

As well as the live shows, Marshall and MVT will collaborate on a series of live sessions, interviews, and behind-the-scenes content which is set to spotlight the artists, venues, and communities that make up the heart of UK music communities.

For more information about the initiative, you can visit here and here.

The push for change across the industry comes as 2023 proved to be “disastrous” and the worst year on record, with 125 grassroots music venues shutting their doors. At the beginning of the year, it was also reported that 70.6 per cent of independent UK acts have never toured, while 84 per cent of unsigned artists simply can’t afford to.

Back in July, historic venue The Royal Albert Hall became the first 5,000+ capacity arena to commit to the levy – which sees £1 from every ticket sold invested back into the UK’s live music scene and helps smaller venues keep their doors open.

A £1 ticket contribution will now be added to all commercial rock and pop concerts at the Hall. This will raise an estimated £300,000 per annum for the LIVE Trust.

A recent Music Fans’ Voice survey showed that 93 per cent of fans agreed that £1 from every arena and stadium ticket should be donated to support the grassroots, and last spring, a government committee of UK MPs joined the call for a levy on arena and stadium gigs – as well as a cut in VAT.

In December, they pushed for concrete measures to be put in place by the end of 2025, and said that if venues do not volunteer to invest back into the grassroots spaces, the government will take action.

Huge names who have been supportive of a £1 ticket levy include Coldplay, Sam Fender and Katy Perry – who have all vowed to donate a portion of their tour revenues to support the grassroots sector.

In May, Wolf Alice‘s Joff Oddie also joined industry leaders at a government hearing and insisted that not enough progress was being made in saving venues and new artists. Then, the month prior, it was reported that UK tour ticket contributions have raised £500,000 for grassroots music venues thanks to artists like Pulp and Mumford & Sons.

November 3, 2025 0 comments
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Russell Simmons Owed Millions to His Accusers. Have They Found Justice?
Music

Russell Simmons Owed Millions to His Accusers. Have They Found Justice?

by jummy84 November 3, 2025
written by jummy84


S
ince 2018, Russell Simmons has been living the life of a well-heeled holy man primarily in Bali, cultivating an aesthetic that falls somewhere between Eat, Pray, Love and alternative-medicine practitioner. Calling himself a yogi and professing wellness expertise — he has been promoting his 2015 vegan cookbook on Instagram — the Def Jam Recordings co-founder posted an exuberant selfie with a group of apparent religious pilgrims earlier this year, with the caption: “The goal is self discovery when one knows the self she/he makes life a moving prayer.… he should practice living in prayer ❤️ and one day in this lifetime or the next all suffering stops…” This introspection has also served as a business opportunity: Simmons is a founder and investor in the Gdas Bali Health and Wellness Resort, “the destination for devotional and wellness practitioners,” he wrote on Instagram.  

His Instagram account is filled with dedications to his family, yoga mentors, and old-school rapper friends — “It has probably been at least one year since I missed 8 am meditation,” he wrote in August — with Simmons noting recently that “Govinda das Ananda (god’s blissful servant) was the name given to me by krishna,” and writing that one woman’s introduction to yoga and meditation “inspire[s] me to keep serving.”

However full the pioneering hip-hop mogul’s island life might appear, his relocation came amid numerous sexual-misconduct allegations back in the United States. For more than a year, Simmons’ continued residence in Bali dovetailed with allegations that he had yet to pay agreed-upon settlements to at least five women who have accused him of sexual misconduct.

Wendy Franco, Sil Lai Abrams, and Sherri Abernathy said in court papers filed in October 2024 that for more than a year, Simmons hadn’t paid 2023 agreements of more than $3 million total. Specifically, Simmons had agreed to pay Franco $515,000, and Abrams and Abernathy $1,265,000 each.

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Abernathy alleged that Simmons raped her in 1983, while Abrams claimed Simmons raped her a decade later in 1994. Franco has not publicly made claims against Simmons, but according to settlement paperwork filed in court, the settlement relates to alleged “physical injuries and sickness.” Documents filed in the legal proceedings also show that as of January 2025,, Simmons also owed a total of at least $8 million to three other accusers: Tina Klein-Baker, Toni Sallie, and Alexia Jones. These filings from earlier this year claimed that Simmons had paid only $220,000 total to them. (A firm spokesperson for Klein-Baker’s lawyer, Kenya Davis of Boies Schiller Flexner, said that “at this stage of litigation, the attorneys and clients could not comment.” The attorney for Sallie and Jones declined to comment and declined to make them available for this article.)

Rolling Stone sent a detailed list of questions related to the allegations of abuse and nonpayment to multiple attorneys representing Simmons. Simmons, through one of his attorneys, Imran Ansari, declined to comment. Two days after Rolling Stone sent Simmons questions for this article, a lawyer for Franco, Abrams, and Abernathy told Rolling Stone, “The matter has been resolved,” but declined to provide any additional details. Lawyers for Simmons did not reply to additional inquiries on the nature of the resolution, and it remains unclear what conditions and parameters, if any, are included in the resolution or how much money, if any, the women have received.

Wendy Franco, Sherri Abernathy and Sil Lai Abrams in New York in August.

Photograph by Dana Scruggs for Rolling Stone

Meanwhile, Simmons has gone on the attack in response to allegations against him. This summer, he filed a defamation suit against HBO and Amy Ziering and Kirby Dick, the filmmakers who produced On the Record, a 2020 documentary featuring interviews with several Simmons accusers. (Simmons’ lawyer claimed “credible information, persuasive evidence, [and] witness statements” supporting Simmons were “disregarded” in the making of the film. HBO’s parent company, Warner Bros. Discovery, said in a statement to Rolling Stone that the lawsuit “lacks both merit and substance” and that they “stand behind the documentary.” The suit is ongoing.) 

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The settlement papers with Franco, Abrams, and Abernathy do not detail specific accusations — like Franco’s, the other two settlements reflect that “[t]he Settlement Amount constitutes a payment for damages for Claimant’s alleged personal, physical injuries and sickness” — nor does Simmons admit wrongdoing in the settlements, which state that his payment does not imply “any admission of liability, fault, or wrongdoing.” Sallie and Jones’ settlements also state that the agreements do not admit any liability of wrongdoing, nor specify exact allegations.

In interviews with Rolling Stone prior to the resolution, Franco, Abrams, and Abernathy largely described Simmons’ apparent delay in payment as another emotional blow in the already-arduous process of legal action against him. His nonpayment, which spanned more than a year at the time of these interviews, felt like another trauma.

“It was devastating,” Franco said in an April interview with Rolling Stone, before the resolution. “I just felt so stupid that I thought this person would follow through, that I thought that someone who could do what he did would turn around and acknowledge me and make some type of amends. You exposed yourself to this, and now this person again shows you that it doesn’t matter to him.” 

Simmons has said that “I own no property in the United States,” and has cried poverty in filings. His legal team, in a defamation suit filed by former music-industry executive Drew Dixon, who accused him of rape in 2017, said in September that he owes them more than $100,000 in fees. (Simmons has denied Dixon’s claims.) The attorneys also said that Simmons is unable to pay a $15,000 penalty imposed by the court on his legal team for missing a scheduled court hearing.

“You exposed yourself to this, and now this person again shows you it doesn’t matter to him.”

Wendy Franco

Dixon’s lawyer, Kenya Davis, shot back that Simmons has money, urging a New York judge to ignore Simmons’ “palpably false and self-serving claims of poverty.” Davis said that Simmons has a 75 percent stake in the Gdas resort and noted his “ongoing partnership with and ownership interest” in a Singapore-based talent agency.

Resolved or not, Franco, Abrams, and Abernathy’s years-long financial purgatory also exemplifies the unfulfilled promises of #MeToo. Women were encouraged to take action against men who had allegedly harmed them — often upending their lives in the process — only to find that the financial and emotional relief in coming forward might be ephemeral at best, nonexistent at worst. Simmons’ protracted nonpayment also reflects the logistical perils and broader challenges for anyone navigating the legal process. People can willingly enter into settlements — as Simmons did — but if they don’t pay, enforcement of these agreements could spiral into a labyrinthine and prolonged legal fight. 

“It could be indefinite,” says Daniel Tabak, a partner at the New York law firm Cohen & Gresser who focuses on bankruptcy and was not involved in any Simmons cases. “There’s no guarantee that [plaintiffs] will ever be able to collect.”

Meanwhile, Simmons’ financial liabilities don’t seem to have impeded his movements. On Aug. 11, he posted a video of himself and a fan to his Instagram shot in New York City. “NYC can be so magical,” he wrote. “Just met this wonderful young lady. She is full of love

A ‘Life-Changing Trauma’

For years, Franco dealt with her pain personally and alone, and tried as best as she could to avoid thinking about Simmons. “I did not follow Russell Simmons in any way. I was very averse to him and everything about him,” she says. Then came #MeToo. 

While Franco declined to discuss the specifics of her allegations — “Ms. Franco is reluctant to elaborate on her claims against Mr. Simmons, given his penchant for litigation,” her attorney, Andrew Wilson of Emery Celli Brinckerhoff Abady Ward & Maazel, tells Rolling Stone — she spoke openly prior to the resolution about the deep emotional toll of Simmons’ apparent failure to pay the settlement. 

“A lot of people were writing about their experiences with powerful men having abused them,” Franco tells Rolling Stone. She had come across accounts of women speaking out against Simmons and had learned about a documentary on him while it was already in progress. “I missed my opportunity to be in this film because it had already been done,” Franco says. “It was a letdown.”

Simmons, circa 1994.

Ron Galella/Ron Galella Collection/Getty Images

Franco contended with economic and family hardships from a young age. The 50-year-old came to the U.S. with her family from the Dominican Republic at age 11, and describes the move as “a lot of trauma.” She and her siblings were separated and scattered into foster homes during the immigration process. Franco says she was “pretty much living on my own by the age of 14” and staying with friends in New York.  

She wanted to act, but her dyslexia and need to learn English on her own scared her from reading in public. But Franco, who ultimately became enmeshed in the downtown New York City arts world, taught herself by “reading The Outsiders with a dictionary, listening to the Smiths, and translating.”

The resilience carried forward. Franco kept up with Simmons’ accusers through social media and discovered the Adult Survivors Act. The 2022 New York state law created a one-year window for adult survivors of sexual misconduct to file civil claims against their alleged abusers that otherwise would have exceeded the statute of limitations. “It felt like divine intervention,” she says, sometimes twirling a ringlet around her finger when she speaks. “It felt crazy and it worked out. I felt like a little bit of my history was validated. It was amazing.”

The settlement addressed a sense of dehumanization that had weighed on her for years. “It’s like a life-shifting, life-changing trauma that makes you doubt who you are and your value and your worth, and it means so little to the person who traumatizes you, who abuses you; it means nothing to them,” she says. “They might not even fucking remember it. So to have that person have to admit, even if it’s just to get you off their back, that you existed … it’s incredibly important.”

Abernathy — who as Sheri Sher was a founding member of the pioneering all-female hip-hop group Mercedes Ladies — describes a sense of empowerment in her decision to come forward. The 64-year-old former rapper still delivers her words enthusiastically, often smiling as she recalls the group’s music. She tells Rolling Stone that she worried about reprisal amid her already turbulent life had she come forward back in the 1980s. Abernathy’s family, consisting of her mother and 10 siblings, constantly faced eviction in New York City. Writing was her solace. She was frequently scribbling in black-and-white-speckled notebooks, covering one side in rhymes and the other with diary-like missives.

During one eviction, Abernathy recalls, city marshals took her composition book. “That really hurt me,“ she says. She crossed paths with Simmons a few times while she was pushing hard for Mercedes Ladies’ success. She has previously said that Simmons attacked her one evening after luring her to his office under the false pretence of a business conversation. 

Abernathy alluded to the alleged rape in her 2008 autobiographical novel, Mercedes Ladies, but did not name Simmons despite her friends’ encouragement to do so. She mulled naming him for four months, but ultimately decided against it. “I felt that if I came out,” she tells Rolling Stone, “I would have a lot of trouble on my hands.”

Wendy Franco

Photograph by Dana Scruggs for Rolling Stone

That changed in late 2017. Following allegations against Harvey Weinstein that October, more women were coming forward with sexual misconduct claims against powerful men in the entertainment industry, including music, notably leading to the conviction of R&B star R. Kelly and sprawling allegations against Marilyn Manson. (Manson has denied the claims.)

Model Keri Claussen accused Simmons of sexual assault in a November 2017 article in the Los Angeles Times. Less than two weeks later, screenwriter Jenny Lumet alleged in The Hollywood Reporter that Simmons sexually assaulted her. Three women, including Dixon, accused Simmons of rape in a Dec. 13, 2017, New York Times article. (Simmons is fighting Dixon’s defamation suit, in part by insisting that his broad denials of sexual misconduct on a podcast did not directly name her.) 

“I felt that if I came out [in 2008], I would have a lot of trouble on my hands.”

Sherri Abernathy

That same day, Abernathy was one of five women who accused Simmons of misconduct in a Los Angeles Times article. “I never really expected that all these women would come out. I thought I was the only one,” she says. “When it came out, I felt a little bit of empowerment behind it. I thought there was never gonna be justice, but justice did come out.”

Simmons has repeatedly denied the claims, saying in 2017 that “these horrific accusations have shocked me to my core, and all of my relations have been consensual.” He apologized in another statement for being “thoughtless and insensitive.” Weeks earlier, he said that he had “never committed any acts of aggression or violence in my life. I would never knowingly cause fear or harm to anyone.” 

The settlement “wasn’t about money,” says Abernathy, noting how she didn’t name Simmons despite her book coming out at the height of his fame. “I’m not a money person. I always worked and kept paying my own way.” For Abernathy, who recently retired after working as a New York state court officer for 20 years, the settlement meant that Simmons was “being held to account for his actions.”

Abrams, a writer and survivor advocate, says she was surprised that there might be any way to get justice. “When I first heard of the Adult Survivors Act, I was shocked that it would even pass. I always held reservations about it as a mechanism for justice, because I know how extensive sexual victimization is in our society,” she says. “We treat it as if it is this aberration, and while it is aberrant, unfortunately it is common. And one of the things we’ve learned from #MeToo was how widespread this issue is. It’s not something that just happens on the fringes of society.”

Abrams, who has said that she came from a chaotic home, told The Hollywood Reporter that she met Simmons in 1989. She had moved to New York City the prior year, and was working as a nightclub hostess. (She also worked as an executive assistant at Def Jam in 1992.) A few years after meeting Simmons, they had sex at various points. In 1994, Abrams saw Simmons for what she believed was a platonic meeting. She had previously told him she no longer wanted a sexual relationship and he agreed to that, according to her interview with The Hollywood Reporter. When they were out that night, Abrams has previously said, she was drinking alcohol while Simmons drank sparkling water, claiming he was sober. 

Later that evening, Abrams asked Simmons to direct his driver to bring her home, but she was driven to his apartment instead. Abrams said that she passed out on his bed with her clothes on. Abrams, who has said she was wavering in and out of consciousness, alleged that Simmons raped her despite her repeatedly saying no, and then directed her to leave his apartment because he was waiting for a romantic interest to call him. 

Sherri Abernathy

Photograph by Dana Scruggs for Rolling Stone

‘Living a Nightmare’

In November 2023, it seemed like things would finally come to a close for the three women. Simmons signed settlements with Abrams, Abernathy, and Franco and agreed to an October 2024 deadline for payment. These settlement agreements were confidential — meaning that the women were legally barred from disclosing the amount or even the existence of a potential settlement. Nobody would know that he paid the women a dime, obviating the possibility of additional bad press. As part of these settlements, Simmons also signed paperwork attesting that he owed them the settlement money and confirming the payment deadline. 

Because these statements effectively validated the settlements, they should have expedited enforcement. The statements also stipulated that if Simmons didn’t pay, the women’s attorneys could file these statements — and the total amounts owed — in court and make them public. 

Simmons blew past the deadline without paying any of the women. The women’s attorneys filed these statements in October 2024, publicly revealing that he had brokered confidential agreements, alongside the amounts. “I was looking at my phone every day,” Franco says of waiting for Simmons’ payment. When she spoke to her attorney at the deadline and learned that he hadn’t paid, “it was devastating.”  

“It just made me feel crazy. I cried for days. I was completely incapacitated,” she tells Rolling Stone. “I didn’t work for a little bit, and not because I’m melodramatic and [not because] I’m a fucking take-to-my-bed person.” Franco was angry. The burden of that limbo, she says, was “like an anchor.”

Abernathy voices similar sentiments. After a “very tedious and long” process, she and Simmons had come to an agreement, and for her, it seemed like it would be as over as it could be. “I thought, and I’m quite sure the rest of the girls thought, that Russell was going to keep [his promise].” When he delayed payment for more than a year, all the while leaning harder into his Zen vibe and luxe tropical lifestyle on social media, “it was just like living a nightmare over and over.”

“How do you go from the godfather of hip-hop to this broken, cornered animal on this tiny island? That’s quite sad.”

Sil Lai Abrams

Last spring, Abernathy underwent brain surgery for an aneurysm and was “in the hospital fighting for my life.” As a result, Abernathy says she must avoid stress and keep her blood pressure down. She also needs a clear head for a hopeful Mercedes Ladies project. “I didn’t want myself to get upset,” she said at the time of the ongoing nonpayment. “I didn’t want to start crying again.”

Abrams says the past year touched on her longstanding reservations about the legal process: “With the Adult Survivors Act, my concern was that once these cases began to be settled through the civil courts, a pushback would come [with] the narrative that had always existed: that the intention of a survivor coming forward is monetary gain.”

She says she still decided to give it a shot, going into the negotiation “with an open mind.” She was baffled at Simmons’ delay in upholding the agreement, saying the situation “just [kept] him tethered to all of us.”

“How do you go from the godfather of hip-hop to this broken, cornered animal on this tiny island?” Abrams says. “That’s quite sad.”

Abrams says the entire situation points “to the limitations that civil suits can have on actually bringing survivors some measure of justice that’s intended.”

Remaining Optimistic

The whole point of coming to a settlement is to avoid lengthy lawsuits and trials that can cost both sides more money. Most settlements include confidentiality clauses that not only conceal the settlement figure, but also bar anyone involved from publicly discussing it. When someone doesn’t pay, collecting the owed money isn’t as straightforward as sending an angry letter. The person with the purse strings could decide to stall or skip out on their tab. Attorneys can take them to court. A judge can order payment. Banks can be forced to comply. But if the money isn’t readily available, getting it becomes a challenging process.

“A sophisticated, wealthy defendant often can hide their assets in a way that makes it very difficult for plaintiffs to collect,” explains Tabak, the Cohen & Gresser lawyer who helmed Hulk Hogan’s legal team in Gawker’s bankruptcy, resulting in a $31 million settlement. 

Sil Lai Abrams

Photograph by Dana Scruggs for Rolling Stone

The state of Simmons’ finances remains unclear. For years, Simmons has been fighting his ex-wife, Kimora Lee, in court over millions of dollars in Celsius energy drink shares that the feds want to seize following the money-laundering conspiracy conviction of Kimora’s ex-husband Tim Leissner. (Through a rep, she declined to comment for this article.)

How exactly the Celsius case will play out is unknown — a recent court filing suggests that Simmons and Kimora might have come to some sort of agreement that’s yet to be finalized — but at the very least, Simmons has tens of millions on the line. Three of his accusers — Sallie, Baker, and Jones — have appeared in court filings as “interested parties” in the Celsius case, though it’s unclear if any of the disputed money would go to his accusers. 

Wilson, Franco’s attorney, has subpoenaed a business firm that works with Simmons for information about his finances. He has also subpoenaed one of Simmons’ daughters, Aoki Lee Simmons, for financial information. Wilson’s firm also sent Aoki Lee a letter dated April 4 warning that if she spent any of her father’s money, she could be on the hook for his nonpayment. (A rep for Aoki said he was not able to reach her for comment.)

Resolution aside, the months of waiting both took a toll and prompted questions for the women. “He has his freedom, technically, but he’s trapped in a prison of his own making, mentally and otherwise — he’s not dealing with reality,” Abrams said in July. “The reality is: He owes a significant number of people a significant amount of money. And that’s not going to get wiped away just because he chooses to hide on an island in the ocean.”

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Hair by SABRINA ROWE. Makeup by GREGG HUBBARD. Makeup Assistant: BLEN WASIHUN.

November 3, 2025 0 comments
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Britney Spears Instagram De-Activated Amid KFed Memoir Headlines
Music

Britney Spears Instagram De-Activated Amid KFed Memoir Headlines

by jummy84 November 3, 2025
written by jummy84

Britney Spears‘ Instagram account has once again gone dark. Fans looking to get an update on the singer via her @britneyspears Insta page — featuring the screen name XILA MARIA RIVER RED — are not me with a message that reads: “Profile isn’t available. The link may be broken, or the profile my have been removed.”

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According to a variety of reports, the Spears Insta account appeared to go dark on Saturday (Nov. 1) or Sunday (Nov. 2), two weeks after the singer’s ex-husband, Kevin Federline, released his tell-all memoir, You Thought You Knew, which features salacious and scandalous stories involving the pop star from their two-plus years of marriage.

At press time Spears had not made any comment about her Instagram retreat, which marked the latest incident of her wiping away her Instagram page. The pop star went away briefly in 2021, then again in 2022 (twice) and has periodically gone dark on her socials over the past few years. The latest retreat comes after Spears repeatedly seemed to lash out over the allegations in Federline’s book in a series of Instagram posts in mid-October in which she wrote, “Its fun to tell stories at this point because this all might sound so silly but with what garbage literally is being said about me I said why not bring SUBSTANCE to the table.” Before that, Spears lashed out in another post at what she deemed “constant gaslighting” from Federline, to whom she was married from 2004-2007.

A few days earlier, she took another shot at people who “profit off my pain,” without naming names, but seemingly alluding to her financial situation with her ex, writing, “no money from Britney for 5 years you trying to get paid that’s what general America is saying weird you both have moved on… your kids are adults it’s a different world now … why is HE SO ANGRY.”

According to People, for weeks Britney’s fans have expressed concern about the 43-year-old star’s condition as she’s continued to post her signature dance videos amid cryptic messages about the two sons she shared with Federline, Sean Preston, 20, and Jayden James, 19. In addition, in a video posted on Oct. 7, Spears appeared to have bruises on her arms, bandages on both hands and on her right knee.

“Psss I fell down the stairs at my friend’s house… it was horrible… it snaps out now and then, not sure if it’s broken but for now it’s snapped in !!!,” she wrote in a TikTok post featuring her injuries.

In an Oct. 19 post, Spears also wrote about a four-month rehab stint she spent in 2018 in the midst of her 13-year conservatorship, claiming that, “I do feel like my wings were taken away and brain damage happened to me a long time ago 100 percent… I have of course moved on from that troubling time in my life and I’m blessed to be alive,” without elaborating on the time frame or nature of the reported brain injury.

Federline’s memoir features a variety of shocking claims about Spears, including allegations that she drank wine while she was pregnant with their children and did cocaine while she was breastfeeding. Spears’ team pushed back at the stories from the KFed memoir that leaked before publication, claiming that “once again he [Federline] 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.”


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November 3, 2025 0 comments
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Chat Pile / Hayden Pedigo: In the Earth Again Album Review
Music

Chat Pile / Hayden Pedigo: In the Earth Again Album Review

by jummy84 November 3, 2025
written by jummy84

In the Earth Again is set at a glacial pace, allowing each element to coalesce in its own time. The first two tracks descend into murky purgatory: Instrumental opener “Outside” is led by Pedigo, his plaintive guitar backed by additional axe work from Chat Pile guitarist Luther Manhole, Busch, and Cap’n Ron, who traditionally handles percussion but plays a powerslide lap steel on some of these songs. That track flows seamlessly into “Demon Time,” a hypnotic number in which Busch prophesies the burning of all the castles in the world and the return of every demon. “And they will find you/And they will fuck you up,” he sings, his voice low and even. Despite their tranquil sound, “Outside” and “Demon Time” are all tension, no release. So when “Never Say Die!” begins with a bulldozing power chord and a nuclear kick—the first percussion on the record—it’s pure catharsis. It’s the most characteristic Chat Pile cut on the album: sludgy, detuned, and merciless.

The rest of In the Earth Again alternates between vocal-centric songs and instrumental tracks. “Behold a Pale Horse” is a Pedigo/Manhole duet full of lovely counterpoint curdled by reverb. “Fission/Fusion” begins as a noisy, jolting scrum before settling into something more Metallica adjacent. And “I Got My Own Blunt to Smoke” finds Busch alone with his guitar, seemingly interpolating Timbaland. It’s only a five-note descending scale, but Busch draws out its melodrama to an almost cartoonish degree. It’s hard to imagine that, in light of the goofy cultural references he’s sprinkled across Chat Pile’s past work, he doesn’t know exactly what he’s doing.

Where field recordings and tape loops make indelible contributions to the record’s atmosphere, they fall flat on its eight-minute centerpiece, “The Matador.” “Things fall apart!” Busch yowls several times, and it’s here Chat Pile and Pedigo’s shared sensibilities hold together least. They open the song with nearly two minutes of tape loops before the drums, bass, and guitar build gradually into a monster lick. The music chugs ceaselessly but loses its punch on the home stretch. There’s a great four-minute song here, but the long closing guitar solo is gratuitous, as is the sluggish intro.

November 3, 2025 0 comments
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RIIZE announce comeback details with cinematic trailer
Music

RIIZE announce comeback details with cinematic trailer

by jummy84 November 3, 2025
written by jummy84

RIIZE have revealed the details of their comeback – find out more below.

  • READ MORE: RIIZE are charting a rapid ascension in the K-pop industry – and they aren’t slowing down

Yesterday (November 2), the SM Entertainment group took to social media to release the cinematic trailer for ‘Fame’. Watch the trailer below.

RIIZE 라이즈 'Fame' Trailer#RIIZE #라이즈#RISEandREALIZE#Fame #RIIZE_Fame pic.twitter.com/ASMDDqq5Eu

— RIIZE (@RIIZE_official) November 2, 2025

‘Fame’ is due for release on November 24, with more details set to be revealed in the coming days. It is currently unclear what other songs will make up the K-pop boyband’s ‘Fame’ single album.

RIIZE most recently released the album ‘Odyssey’ in mid-May. It included tracks like ‘Fly Up’, ‘Midnight Mirage’, ‘Inside My Love’, ‘Another Life’, ‘Ember To Solar’ and more.

The album is RIIZE’s first release since founding member Seunghan left the group in October last year. His departure occurred only two days after Seunghan and SM Entertainment faced backlash after the latter announced his return to RIIZE following a year-long hiatus.

Shortly after, a number of K-pop retailers across the globe halted restocks of RIIZE merchandise “out of respect for our customers, fans, and the artist”. Although the label did not heed fans’ requests to add Seunghan back to the band, they announced he would debut as a soloist sometime this year. His debut solo album ‘Waste No Time’ arrived on July 31.

The post RIIZE announce comeback details with cinematic trailer appeared first on NME.

November 3, 2025 0 comments
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Lawsuit Against Spotify Calls ‘Billions’ of Drake Streams ‘Fraudulent’
Music

Lawsuit Against Spotify Calls ‘Billions’ of Drake Streams ‘Fraudulent’

by jummy84 November 3, 2025
written by jummy84

A new class action lawsuit against Spotify alleges the company has “turned a blind eye” to “mass-scale fraudulent streaming” on its platform and that one musician in particular has been the beneficiary of “billions” of fake streams: Drake.

The suit was filed in California District Court on Sunday night with rapper (and cousin of Snoop Dogg) RBX named as the lead plaintiff. While the most eye-popping allegations in the suit relate to Drake’s streaming numbers, there are no specific accusations of wrongdoing against the “Nokia” rapper. Only Spotify is named as a defendant. 

“Every month, under Spotify’s watchful eye, billions of fraudulent streams are generated from fake, illegitimate, and/or illegal methods,” like bots, the lawsuit states. Such “mass scale” streaming fraud, it continues, “causes massive financial harm to legitimate artists, songwriters, producers, and other rightsholders.” 

Streaming royalties are paid out through a “streamshare” model, where subscription and ad dollars are put into a giant pool, with the money divvied up based on each artist’s share of the total streams. Most of that money already flows upstream to the most successful artists and biggest rights holders. In this type of shared-pool model, fake streams hurt other artists whose shares aren’t inflated. (Spotify and representatives for Drake did not immediately respond to a request for comment.)

While the lawsuit suggests that use of bots is widespread on Spotify, the only example it cites pertains to Drake. It claims “voluminous information” which Spotify “knows or should know” proves that a “substantial, non-trivial percentage” of Drake’s approximately 37 billion streams were “inauthentic and appeared to be the work of a sprawling network of Bot Accounts.”

This allegedly fraudulent activity took place between January 2022 and September 2025, according to the complaint. It claims an examination of Drake’s streams revealed “abnormal VPN usage” had obscured the location of the bot accounts streaming Drake’s songs. For instance, the lawsuit claims that over a four-day period in 2024, at least 250,000 streams of his song “No Face” originated in Turkey “but were falsely geomapped through the coordinated use of VPNs to the United Kingdom in [an] attempt to obscure their origins.”

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The lawsuit also alleges that “a large percentage” of accounts streaming Drake’s music were “geographically concentrated around areas whose population could not support” such a high volume of streams. No exact places or numbers were given, though the suit claimed that some streams reportedly originated in areas with “zero residential addresses.” 

The lawsuit also cites “significant and irregular uptick months” for Drake’s songs long after they’ve been released, as well as “slower and less dramatic” decay rates for Drake’s music compared to his contemporaries. (Decay rate refers to a typical streaming pattern where plays of an album or song naturally dwindle in the weeks and months after release.) 

The lawsuit further claims that “the number of streams of Drake’s music attributable to individual accounts is staggering and irregular,” with a “massive amount of accounts listening to Drake’s music” doing so “23 hours a day.” Less than two percent of these users, the lawsuit goes on to claim, account for “roughly 15 percent” of Drake’s streams; and about about nine percent of Drake’s streams “are attributable to less than one percent” of these users. 

“As a result,” the complaint claims, “Drake’s music accumulated far higher total streams compared to other highly streamed artists, even though those artists had far more ‘users’ than Drake.” 

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The lawsuit does not state how the plaintiffs, or their lawyers, obtained this data, nor does it shed any light on how the analysis of Drake’s streaming numbers was conducted.

These allegedly fraudulent streams “generated significant revenues” for Drake and his company Frozen Moments, at the expense of other artists, the lawsuit claims. But it also states that Spotify “deliberately turns a blind eye to fraudulent streaming” for its own benefit. 

While Spotify has taken steps in recent years to combat and tamp down streaming fraud, the lawsuit casts doubt on the efficacy of these measures and Spotify’s own incentives to stop fraud. It suggests that Spotify is particularly vulnerable to bots on the platform’s ad-supported free tier because myriad accounts can be generated without handing over a credit card number. By allegedly allowing bots to run rampant, Spotify can present high stream and user activity numbers to potential advertisers, the lawsuit alleges. 

“For Spotify, more users and music streams means more advertising dollars, so long as the true origin of the streams remains hidden,” the lawsuit states. (Spotify also loses money in the form of royalty payouts whenever fraudulent streaming occurs.)

“Artists across the streaming industry need accurate reporting of streams and effective fraud detection to ensure fair compensation. When streams are artificially inflated on a large scale – as my client’s lawsuit alleges has happened with respect to streams of Drake’s music – it affects the income of countless songwriters, performers, and producers,” Mark Pifko, one of the lawyers with Baron and Budd, who filed the lawsuit on behalf of RBX, tells Rolling Stone. “The lawsuit seeks to address these broader issues, recoup losses for affected musicians, and make the streaming ecosystem as fair and transparent as possible for everyone involved.”

The new lawsuit — and the claims regarding Drake’s music — notably come just weeks after a judge tossed Drake’s lawsuit against Universal Music Group, which contained its own allegations of streaming fraud. Though technically a defamation case, Drake accused his own record label UMG of artificially inflating the popularity of Kendrick Lamar’s diss track “Not Like Us,” marking arguably the most high-profile allegation of streaming fraud to date. UMG denied all of Drake’s allegations and the streaming fraud claims specifically, writing in a March legal filing, “There is no evidence of any such stream manipulation.”

Streaming fraud has been a topic of discussion in the industry for years. While pinpointing just how rampant it is — and calculating corresponding losses — is difficult, most estimates hover in the range of hundreds of millions, if not billions, of dollars. A 2019 Rolling Stone report noted that fake streams could be costing artists $300 million a year. A 2023 study in France found that between one and three percent of all streams in the country were fake. If those numbers held true globally, that would mean royalty losses up to $510 million. Last year, Beatdapp, a streaming fraud detection program, estimated that at least 10 percent of all streams are fraudulent, leading to annual losses of $2 to $3 billion. 

Efforts to crack down on streaming fraud have ramped up around the world. A Danish man was convicted last year, while another individual was arrested in Brazil back in March. Over the summer, officials in Turkey — where the lawsuit says some of the allegedly fraudulent Drake streams originated — started investigating Spotify over several allegations, including bribes for playlist placement and bot streams distorting domestic charts. (A rep for Spotify told Music Business Worldwide at the time that they are “cooperating with the investigation, are actively seeking to understand it, and will work toward a swift, constructive resolution with the Turkish Competition Authority.”) 

And in the U.S., federal prosecutors brought an unprecedented streaming fraud indictment last September against a North Carolina musician named Michael Smith. Smith is accused of using artificial intelligence to generate hundreds of thousands of songs, which he then allegedly streamed with bots. The feds claim that, at one point, Smith had as many as 10,000 active bot accounts streaming his music, and allegedly made over $10 million from this scheme. (Smith has denied the charges.)

Drake filed his first legal claims over “Not Like Us” just two months after Smith was arrested and indicted, and the official defamation suit was brought in January of this year. The streaming fraud allegations against UMG were based on statements from a purported anonymous whistleblower, who appeared on a show by DJ Akademiks, the popular streamer and longtime Drake associate. As stated in Drake’s lawsuit, the whistleblower claimed that Lamar’s label, Insterscope (a UMG subsidiary), paid him $2,500 “via third parties” to “use ‘bots’ to achieve 30 million streams on Spotify in the initial days following” the release of “Not Like Us.” Per the suit, the whistleblower said the goal was “jumpstarting” the song’s spread and making it “a crazy hit” on the platform.

UMG, in a motion to dismiss, noted the whistleblower “directly refuted” his own claim when he said that he was hired by Lamar’s manager, Anthony Saleh. In a revised complaint filed in April, Drake pared down his allegation, claiming “UMG was aware that third parties were using bots to stream the Recording and turned a blind eye, despite having the power to stop such behavior.”

The original suit also alleged that UMG “conferred financial benefits” to Apple so that Siri would “purposely misdirect users to” “Not Like Us” when they asked it to play Drake’s album, Certified Lover Boy. This claim was sourced partly to a viral video posted by HipHopDX’s Jeremy Hecht, who later clarified that Siri appeared capable of pulling up songs based on just lyrics it recognized. Thus, asking Siri to play Certified Lover Boy — without specifying “by Drake” — could conceivably trigger “Not Like Us,” because of Lamar’s line, “Certified loverboy? Certified pedophiles.” 

Even before Drake filed his defamation lawsuit, many legal experts and industry figures were skeptical of his allegations and their viability in court. Speaking with Rolling Stone last year about the petition, Brian Zisook, co-founder of the streaming service Audiomack, even suggested Drake might regret asking Universal to provide documentation of artificial streaming. 

“It’s likely that a lot of artists, Drake included, have benefited [from streaming bots] without their knowledge,” he said. Zisook also noted that many top artists have labels and distribution partners who have “opted into above-board programs like Discovery Mode and have artificially manipulated streams, and the artist has no idea. And they don’t ask questions because it looks good.”

Ultimately, Drake’s suit faltered. A judge summarily dismissed the suit’s defamation accusations, ruling that “Not Like Us,” as a diss track, qualified as “nonactionable opinion.” And while the judge’s decision largely centered on the validity of Drake’s defamation claims — or lack thereof — she also briefly addressed his streaming fraud allegations. She said Drake’s evidence essentially amounts to “Tweets by individual users and reporting from fans,” and called his “reliance on online comments and reporting insufficient to meet the plausibility standard.”

The proposed class action filed Sunday claims damages in excess of $5 million. It’s asking that a federal judge certify the lawsuit as a class action, order Spotify to identify alleged victims, and oversee a jury trial seeking compensatory and punitive damages.

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RBX, born Eric Dwayne Collins, helped author Dr. Dre’s West Coast anthem “Let Me Ride” and was featured on several tracks for Dre’s seminal album The Chronic.

November 3, 2025 0 comments
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Triple J Reveals 2025 J Awards Nominees
Music

Triple J Reveals 2025 J Awards Nominees

by jummy84 November 3, 2025
written by jummy84

Triple J has unveiled the nominees for the 2025 J Awards, recognizing standout achievements across Australian music and kicking off Ausmusic Month programming throughout November.

Now in its 21st year, the J Awards highlight excellence in recorded music, live performance and video, as well as emerging talent via triple j Unearthed. This year’s nominees span five categories: Australian Album of the Year, Unearthed Artist of the Year, Double J Artist of the Year, Australian Music Video of the Year (presented by rage and triple j), and Australian Live Act of the Year.

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The shortlist for Album of the Year includes DJANDJAY by Baker Boy, Deadbeat by Tame Impala, If That Makes Sense by Spacey Jane, Now Would Be A Good Time by Folk Bitch Trio, Look At Me Now by ONEFOUR, and Light hit my face like a straight right by Mallrat, among others. The list reflects a mix of charting acts and breakthrough names across hip-hop, indie rock, electronic and experimental pop.

In the Unearthed Artist of the Year category, Don West, Darcie Haven, Sam Alfred, Folk Bitch Trio, and PLAYLUNCH are all in the running. Meanwhile, punk outfit Amyl and the Sniffers lead the Double J Artist of the Year field alongside Paul Kelly, Gordi, Meg Washington, and Emily Wurramara.

On the visual side, five acts are nominated for Music Video of the Year, including Ninajirachi’s “Fuck My Computer,” RONA.’s “Show Me” and Ecca Vandal’s “CRUISING TO SELF SOOTHE.”

Triple J also named four nominees for Australian Live Act of the Year: Amyl and the Sniffers, Ball Park Music, Miss Kaninna and hardcore group SPEED.

Winners will be revealed on Wednesday, Nov. 12, starting at 3:30 p.m. AEDT, following deliberation by music and on-air teams across triple j, Unearthed, Double J and rage.

In addition to the awards, triple j’s Ausmusic Month celebrations include the “triple j 50 tour,” which hits Hobart, Newcastle, Adelaide, the Gold Coast and Torquay with performances from Ninajirachi, Tkay Maidza, Mallrat and more. Local acts will also take over weekly segments like Like a Version, Live at the Wireless and Friday Mix, culminating with Ausmusic T-Shirt Day on Nov. 27.

2025 J Awards Nominees

triple j Australian Album of the Year

  • Baker Boy – DJANDJAY
  • Folk Bitch Trio – Now Would Be A Good Time
  • grentperez – Backflips in a Restaurant
  • Mallrat – Light hit my face like a straight right
  • Ninajirachi – I Love My Computer
  • ONEFOUR – Look At Me Now
  • Spacey Jane – If That Makes Sense
  • Tame Impala – Deadbeat
  • The Rions – Everything Every Single Day
  • Thornhill – BODIES

Unearthed Artist of the Year

  • Don West
  • Darcie Haven
  • Sam Alfred
  • Folk Bitch Trio
  • PLAYLUNCH

Double J Australian Artist of the Year

  • Amyl and The Sniffers
  • Emily Wurramara
  • Gordi
  • Meg Washington
  • Paul Kelly

rage and triple j Australian Music Video of the Year

  • Drifting Clouds – “Bawuypawuy” (dir. Matt Sav)
  • Ecca Vandal – “CRUISING TO SELF SOOTHE” (dirs. Ecca Vandal and Richie Buxton)
  • Ninajirachi – “Fuck My Computer” (dir. Ball Bass John)
  • PLAYLUNCH – “Keith” (dir. Riley Nimbs)
  • RONA. – “Show Me” (dir. Tyson Perkins)

triple j Australian Live Act of the Year

  • Amyl and The Sniffers
  • Ball Park Music
  • Miss Kaninna
  • SPEED

For more information and full Ausmusic Month programming, visit triple j’s official website.

November 3, 2025 0 comments
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Helloween Announce 2026 North American 40th Anniversary Tour
Music

Helloween Announce 2026 North American 40th Anniversary Tour

by jummy84 November 3, 2025
written by jummy84

Veteran German power-metal band Helloween have fittingly chosen Halloween to announce the North American leg of their 40th anniversary world tour.

The Spring 2026 outing kicks off April  7th in Dallas, and runs through a May 2nd show in Las Vegas, hitting Atlanta, Boston, New York City, Montreal, Denver, Seattle, Los Angeles, and other major markets along the way. The tour will feature support from Finnish metal band Beast in Black.

Get Helloween Tickets Here

Full ticket details have not been announced as of yet, but it appears an artist pre-sale for select dates will begin Wednesday, November 5th, at 10 a.m. local time via Ticketmaster, with a general on-sale starting Friday, November 7th, at 10 a.m. local time.

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Helloween are in the midst of the European leg of their 40th anniversary tour, running through a November 22nd show in Stuttgart, Germany. They also have concerts scheduled for December in Southeast Asia, and May in Japan.

In August, Helloween released their 17th studio album, Giants & Monsters. The band features original members Michael Weikath (guitar), Markus Grosskopf (bass), and Kai Hansen (guitar, vocals), who formed Helloween in 1984, as well as longtime vocalists Michael Kiske and Andreas “Andi” Deris, who joined the group in 1986 and 1994, respectively. The lineup is rounded out by guitarist-keyboardist Sascha Gerstner and drummer Daniel “Dani” Löble.

See Helloween’s North American tour dates below.

Helloween 2026 North American Tour Dates:
04/07 – Dallas, TX @ The Factory
04/08 – San Antonio, TX @ The Aztec
04/10 – Atlanta, GA @ Tabernacle
04/12 – Orlando, FL @ House Of Blues
04/14 – Silver Spring, MD @ The Fillmore
04/15 – Boston, MA @ House Of Blues
04/17 – New York, NY @ The Palladium Times Square
04/18 – Montreal, QC @ L’Olympia
04/19 – Toronto, ON @ Queen Elizabeth Theatre
04/21 – Milwaukee, WI @ The Rave
04/23 – Denver, CO @ The Paramount Theatre
04/25 – Salt Lake City, UT @ The Depot
04/28 – Seattle, WA @ The Paramount Theatre
04/30 – San Francisco, CA @ The Warfield
05/01 – Los Angeles, CA @ YouTube Theatre
05/02 – Las Vegas, NV @ House Of Blues

November 3, 2025 0 comments
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Announcing Beats + Bytes  - SPIN
Music

Announcing Beats + Bytes  – SPIN

by jummy84 November 3, 2025
written by jummy84

My focus is the intersection of entertainment, brand partnerships, and technology. I’ve been running an indie boutique called Nue Agency for nearly two decades. It started as a talent agency finding and developing artists with the belief that we had to think differently to help our artists break. I had tremendous success representing talent such as Pusha T, Wale, MIMS, Big Sean, Mike Posner, J. Cole, Logic, Action Bronson, White Panda (which spawned Gryffin), 2AM Club (which launched Marc E. Bassey), and many more. 

When the internet was decimating the music business of the past—and CDs that cost pennies to make were no longer selling by the millions for $20 a pop—I could see the writing on the wall. I believed that tech was going to be the savior of the music industry. At that point, we began whole-heartedly encouraging our artists to embrace technology companies and be open to partnerships with these new platforms.

Almost a decade into representing artists, I changed my business model then, too, and began using a similar creative mindset to help break brands and launch campaigns that leveraged the power of music and its creators.

As an indie you have to be crafty and stay on your toes. That’s part of the reason I was so attracted to SPIN. SPIN is an iconic music magazine that encapsulates the spirit of indie culture. The impresarios and indies are the lifeblood of the music business, and independent artists are on the rise again, eating more and more of the majors’ market share. SPIN embodies what is cool about music.

When I met the CEO Jimmy Hutcheson a few years ago, I knew I wanted to work with him. He was a big thinker that loved music to the core. Like me, he was a talent booker in college and deeply understood digital media. He had a vision for how to bring SPIN back to its turn-of-the-century glory and beyond.

Since purchasing the company at the beginning of these roaring 2020s, he’s put together a rockstar team, even bringing back the original founder of SPIN, Bob Guccione Jr., to tap into the nostalgia of the print form of the magazine. I’m honored and excited to be collaborating with him and the team on my new column, Beats + Bytes. This is issue No. 1!

So, what can you expect from me? I’m moving at the speed of culture. I see through an artist’s lens, but I understand what it takes to service the biggest brands in the world. I love to make predictions, forecast trends, have off the record, real world conversation, chase art and connect dots. I’m a techno-optimist.

In many ways, we are in a golden era of music. Despite concerns about ‘devaluation’ of music, its new-found ubiquity has proven incredibly powerful. There are more artists creating (and owning their material), and more fans consuming and connecting with music than at any point in history. The red tape has finally been cut and new tools have helped grow the long tail as catalog material is given new life and amateurs join the fun. 

The live business is healthy, with festival culture staying strong (Coachella already sold out next year) and plenty of room for boutique and niche events. Venture capital and tech investments are flowing, helping musicians build better fan experiences, while brand dollars and the creator economy provide a mechanism for financial support to reach artists big and small. Music is the #1 passion point and the top identity driver with teens, more than fashion and more than sports. All that, and the space remains ripe for innovation. 

Is it perfect? Absolutely not. Is it getting harder to cut through the noise, or for a new song to stay top of mind? Absolutely yes. There was no “song of the summer” and some say this marks the end of the mainstream popularity era. I’m not sure about that, although my attention is being gobbled up by something different every week, since so much inspiring music is being released. 

Looking up, there is a lot of blue sky for our industry. My personal mission is to find innovative ways to bring more brand dollars to artists, storytellers, and the music business as a whole. I couldn’t be more psyched to be here, working with SPIN to get this message out to a bigger audience of music fans. 

Peace,
Jesse K. 

November 3, 2025 0 comments
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