Bootsy Collins has welcomed roots-soul singer-songwriter Davie as the first artist signed to Bootzilla Records, the funk legend’s newly launched label.

“Davie, welcome to Bootzilla Records,” Collins said in a statement. “You know you got a burning tent revival going on deep down in your soul, and all I can say is Church.”

He added, “As the first signing to Bootzilla Records, Davie is helping lead the front line of what this label is here to bring to the people. He brings real soul, grit, and that feel-good fire that makes folks stop, listen, and believe every word he’s singing. We’re looking forward to rolling this thing out with him, letting his soul, fire, and truth touch the world the way only he can.”

Bootzilla Records is distributed through Jay-Z’s Roc Nation. The label “is built around artists Collins discovers organically, artists whose music is deeply rooted in tradition while connecting with audiences everywhere,” according to a press release.

“Bootsy is a legend,” Davie said in a statement. “He’s built a sound that’s unmistakably his own: funky, effortless, timeless, and full of personality. What inspires me most is how his music can be deeply rooted in Black musical traditions while still connecting with people everywhere. That’s something I aspire to as an artist.”

Davie made his label debut with “Soul,” released Friday (June 19).

“Juneteenth is a day to celebrate together freedom for all, and Black music has always been the soundtrack of our cultural expression,” Davie said. “The song draws from a rich history of blues, soul, and funk, which have been the soundtrack to joyful moments and celebrations worldwide. So, I wanted to join the celebration by lending my voice.”

Stream Davie’s new song “Soul” below.

1300 has its sights set on South Korea and the rest of the world through a new deal struck with Universal Music Korea.

For the past several years, the Korean-Australian hip-hop act that has been making waves in the land down under, where they’ve completed two sold-out national tours and performed live for the 2025 ABC New Year’s Eve concert, beamed out from the Sydney Opera House.

Blending rap, electronic music and wicked humor, 1300 has shared stages with the likes of Jay Park, Audrey Nuna, Genesis Owusu, and Confidence Man, and graced the pages of the NME, Esquire Australia, Billboard Philippines, The Guardian, PAPER Magazine, Hypebeast Korea, and more. On the festivals front, they’ve appearing at SummerStage’s Aussie BBQ in NYC in 2023, and featured in Netflix’s viral reboot of Heartbreak High.

Critical and commercial success has poured in. Along the way, the lads have been shortlisted for the Australian Music Prize (2022), won the triple j and Rage Australian music video of the year for “Oldboy” and earned artist of the week nods from several broadcasters, including triple j Unearthed, and been awarded the Australia Council’s Arts Project and Contemporary Touring grants.

Comprised of rappers DALI, goyo, rako, and producers Nerdie and pokari, 1300 formed in west Sydney in 2021. Since then, they’ve amassed a catalog that includes fan faves “Lalaland,” “Brr,” “No Caller ID,” “Smashmouth,” “Oldboy,” “Rocksta,” and “Steve Jobs” featuring Kwame, along with the mixtapes Foreign Language and GEORGE, plus their Valentine’s Day EP <3 (pronounced “less than three”), (pronounced “less than three”).

The major-label deal signals “a significant next step” for 1300, reads a statement, as they continue expanding their global reach and introducing their “genre-defying sound” to audiences around the globe.

To celebrate the new arrangement, a debut album ILLSAMGONGONG will drop next month through UMK.

“We’re delighted to welcome 1300 to UMK,” comments Calvin Wong, CEO of Universal Music Group Southeast Asia and Korea, & senior VP of Asia. “They combine a fresh, alternative, sound with a dynamic energy that resonates instantly. I look forward to helping them create new opportunities, connect with fans, and together take their music across Asia and the rest of the world.”

Ahead of the new album release, 1300 will unveil the first pre-release single on next Wednesday, June 24.

SYDNEY, Australia — Rising Australian alt-pop artist Alexandria is the latest addition to the Warner Music roster, Billboard can exclusively reveal.

Alexandria signs a recording deal with Warner Music Australia and Warner Records, an alliance that expands on her unlikely leap from teaching math to high school students in Perth, Western Australia, to unleashing her dark-toned fantasy pop on the world.

To celebrate her major label partnership, Alexandria drops the new track “Justice,” a cinematic pop story told with strings and snares. The single is representative of her work to date, immersive pieces influenced by literature, anime, and her other passions.

Those releases include 2025 debut “Always An Angel;” her featured contribution on Marino’s “Lust;” and most recently, “The Fool.” She joins the Warner Music fold with more than 1.74 million followers on Spotify, and 213,000-plus followers on TikTok.

“Signing with Warner Music feels like the beginning of an exciting new chapter,” she says in a statement to Billboard. “I’ve spent years writing songs and building this project piece by piece, and it means so much to have a team that believes in the vision as deeply as I do. I’m incredibly grateful for the support so far, and I can’t wait to share what’s coming next.”

Alexandria paints worlds with lyrics and sonics. “I’ve always been drawn to the fictional world and stories,” she explains. “My music allows me to bring those stories to life. Writing ‘The Fool’ and ‘Justice’ felt like writing two mini novels, with each song having its own world and story surrounding it. I cannot wait for everyone to hear the stories that are yet to come.”

With the new arrangement, Alexandria has a global team behind her and a steady stream of new music is in the pipeline for 2026, reps say.

“I am thrilled to welcome Alexandria to the Warner Music family,” comments Dan Rosen, president of Warner Music Australasia and Southeast Asia. “Partnering with Warner Records on Alexandria reflects our ongoing commitment to make our local artists global, with global teams to provide the powerhouse backing to build successful international careers. Alexandria has a truly unique creative vision, and we are super excited to support her in the next stage of her career.”

Aaron Bay-Schuck, co-chairman & CEO, Warner Records Group and Tom Corson, co-chairman & COO, Warner Records Group add: “Alexandria doesn’t just make music — she builds worlds. Her singular creative vision and undeniable global appeal made this partnership between Warner Records and Warner Music Australia an easy call. We are thrilled to welcome her and cannot wait for the world to hear what’s coming.”

At WMA, Alexandria joins a domestic stable of artists that includes Boy Soda, Blusher, Budjerah, Brad Cox, Carla Wehbe, and others.

A judge says Russell Simmons can be sued for rape in New York by a former Def Jam executive, even though he now lives in Indonesia.

A Tuesday (June 16) order in New York state court, first obtained and reported by Billboard, rejects Simmons’ latest attempt to dismiss the civil lawsuit alleging he raped an anonymous executive in Def Jam’s music video department in the 1990s. Simmons, who has been accused of sexual assault by numerous women over the last decade, has denied all wrongdoing.

The former Def Jam employee, suing under the pseudonym Jane Doe, originally brought her claims against Simmons in federal court in 2024. She suffered a setback last year when a federal judge said Simmons, who has lived in Indonesia since 2018, was outside the court’s jurisdiction. She persisted and re-filed the lawsuit in state court — and on Tuesday, Judge Adam Silvera said New York law allows the claims to move forward despite Simmons’ expat status.

“The complaint alleges the defendant committed the tort of rape in New York state,” wrote the judge. “[In New York], a court may exercise personal jurisdiction over any non-domiciliary who commits a tortious act within the state, except as to a cause of action for defamation. Therefore, the complaint survives the motion to dismiss stage.”

In addition to their arguments about Indonesia, Simmons’ lawyers also argued that the lawsuit should be dismissed because Jane Doe released all possible claims against the Def Jam founder as part of a severance agreement with the label in 1997.

However, Doe’s attorneys say that purported release is a “sham” and that her signature was forged. Judge Silvera determined on Tuesday that there’s a “genuine dispute as to its authenticity,” meaning he’ll need to see evidence before deciding whether the document is enforceable.

Simmons and Doe will now begin discovery, where they will exchange evidence and depose each other’s witnesses. The judge set a court conference for August to hammer out a calendar for this often-lengthy process.

Doe’s lawyers at the firm Boies Schiller & Flexner declined to comment on the ruling on Wednesday (June 17). Simmons’ rep did not immediately return a request for comment.

Simmons, who founded Def Jam Recordings in 1984 and built a formidable hip-hop empire, first faced sexual abuse allegations in a New York Times investigation from 2017. More women came forward in the 2020 HBO documentary On The Record, and legal claims followed.

Doe’s lawsuit was filed under New York’s Adult Survivors Act, which temporarily lifted the statute of limitations for rape claims. She alleged that Simmons pinned her to a bed and raped her while she was at his apartment to get approval for a music video.

Simmons has settled with at least seven other women who’ve accused him of sexual misconduct in recent years. Many of these accusers have since filed court petitions claiming he’s millions of dollars short on promised settlement payments.

Simmons has maintained that the abuse claims are all false. In a motion to dismiss the Doe lawsuit, his attorneys wrote, “Defendant hopes to vindicate himself to the many who have judged him unfairly, for many years, on the untrue and unproven allegations of others.”

Last June, Simmons went on the offensive and sued HBO for defamation over On The Record. He claimed the sexual assault accusations in the documentary were false, and that its producers ignored exculpatory information that would have cleared his name. That case is still pending.

Robbie Williams, arguably the most successful British male artist this century, has signed with WME for worldwide agency representation.

Announced early Wednesday, June 17, the former Take That singer joins WME after his move to the ATC Management roster.

Robbie, as he’s affectionately known to his millions of fans, is a megastar in the United Kingdom and Europe, and around the globe.

According to the Official Charts Company, Robbie boasts six of the top 100 best-selling albums in British recorded music history, with 16 U.K. No. 1 albums as a solo artist — breaking the tie with the Beatles, for the most leader of all time. He also owns 18 Brit Awards, more than any other artist. His international album sales top 90 million.

In the United States, where his cheeky-chappie appeal never quite caught on, Robbie bagged two appearances on the Billboard Hot 100 led by “Angels” at No. 53, and four of his albums impacted the Billboard 200 chart.

Across his decorated career, Williams has collected eight German ECHO Awards, three MTV Europe Music Awards, and last year was appointed as the official FIFA music ambassador, through which he co-wrote and recorded the FIFA anthem, “Desire,” which will be played at the international soccer governing body’s future tournaments, including the current FIFA World Cup.

Also last year, he won the prestigious PRS for Music Icon Award at The Ivors 2025, his fifth Ivor Novello Award. His big screen projects include the Oscar-nominated film Better Man, which swept the 2025 AACTA Awards in Sydney, taking home four major trophies including best film. He’s also the subject of a well-received four-part documentary for Netflix, Robbie Williams.

As a member of Take That, Robbie lived the largest of lives. Formed in 1989 as a five-piece — Gary Barlow, Howard Donald, Mark Owen, Jason Orange and Williams — the pop group was one of the most popular acts of its generation, certainly in the U.K., where few acts can challenge their chart superiority.

Take That is also a proven box-office juggernaut. Their record-breaking 2011 Progress tour (for which Williams returned to the fold) sold over 1 million tickets in less than 24 hours; the following year the lads performed at the closing ceremony of the 2012 London Olympics; and they hold the record for the most performances at London’s The O2, with 34 headline shows.

Williams is playing stadiums around the globe this year in support of his new album BRITPOP, which dropped in January and immediately went to No. 1 in his homeland.

“Is everyone alright? It’s good to be back.”

The answer to that open question from Eddy Current Suppression Ring’s frontman Brendan Huntley is, of course, “yes,” and absolutely. Sixteen years have passed since ECSR worked their homebaked brand of punk rock on Sydney crowds. That damned drought came to an end in spectacular fashion on Friday night, June 12, fittingly as Vivid Sydney 2026 entered its final stages.

ECSR are royalty in Australia’s underground scene, princes of independent, garage rock. Formed back in 2003 in the front room of a vinyl pressing plant in Highett, a suburb of Melbourne, the four-piece built a cult following, one that extends far beyond these shores.  Half a decade later, ECSR had ascended the throne with Primary Colours, their second studio album, which would win the coveted Australian Music Prize for the best Aussie album of the year, regardless of sales or hype, and snagged an AIR Award for best independent hard rock/punk album. For the AIR Awards ceremony in 2008, at Melbourne’s Corner Hotel, they nailed a meaty mini-set for industry guests.

Sightings of ECSR are uncommon. These lads are like rare birds.

Then, a bolt from the blue. ECSR recently dropped a new, fifth studio album, In Light of Recent Events, their follow-up to 2019’s All in Good Time. A heads-up came in 2025 with the release of a three-track EP Shapes And Forms, which was supported last September with a free-show at Federation Square, in the band’s hometown.

Last weekend was Sydney’s turn, with a free, headline show at Tumbalong Park, on Darling Harbour. “Sixteen years,” Huntley said at the top, shaking his head, perhaps recognizing the length of the hiatus as both a blink of an eye, and an entire lifetime. Whatever, it was too long. Huntley hasn’t lost any of his frontman skills. Throughout the set, which included “Cool Ice Cream,” “Colour Television” and “Which Way to Go,” he paced about like a cat, looking for a mouse that got away. We see that introspective skinny dance, the thousand-yard stare. The gloves still fit. Gee, it’s good to have them back.

ECSR was one of the highlights of Tumbalong Nights, which showcased upwards of 40 artists from 12 countries, including Aussie acts Mallrat, Matt Corby and Gretta Ray.

All up, the Sydney-wide festival booked 217 events, and 2,253 sessions across 89 locations across its three weeks. The Vivid LIVE program at the Sydney Opera House featured Mitski’s residency and performances from the likes of Jeff Mills, King Stingray, Mogwai and 2026 Libera Award winners Folk Bitch Trio, all of it shifting almost 40,000 tickets for the strongest box office result since COVID-19 and its second-largest on record, organizers say.

The Carriageworks program, which included performances from Lil’ Kim, Alison Wonderland and others, captured more than 30,000 ticket bookings, generating a 38% gain in revenue compared with the previous year’s event. 

“This year’s Vivid Sydney has been an extraordinary success,” enthuses Vivid Sydney festival director Brett Sheehy, “exceeding our expectations not only terms of sell out shows across the program, but also in the level of enthusiasm, connection, and delight we’ve seen across the city.” Visitors stuck around, too. “What’s been particularly striking this year is the depth of engagement across the program, with visitors exploring more than ever,” adds Sheehy. “On average they attended 4.5 locations and spent around three hours immersed in the festival per visit.”

Eddy Current’s fans came and stayed for their special set, on the penultimate evening of the Sydney-wide live entertainment and arts extravaganza. Many in the crowd would proudly wear the Gen-X badge, beer in hand, wearing sensible, but pretty groovy, jackets on a chilly night. Up front, the younger, wilder fans unleashed their energy the old-fashioned way — by crowd surfing.

It was a blast from the past, much like the band on stage.

“I’d love to see you again someday,” remarked Huntley, after taking the plunge for his own end-of-set surf, as he rode the crowd on his back while belting out “Get Up Morning.” “You’re always good to us, Sydney.”

Vivid Sydney is owned, managed, and produced by Destination NSW, the NSW Government’s tourism and major events agency.

SYDNEY, Australia — BMG has acquired the publishing catalog of Chris Cheney, frontman, songwriter and guitarist of The Living End, in a deal announced just days after the Australian rock trio was inducted into the 2026 ARIA Hall of Fame.

The acquisition expands on a relationship that has seen BMG serve as Cheney’s global publisher since 2016 and the group’s global label since 2018. Financial terms of the new deal weren’t disclosed.

“One of the great joys of being a musician is songwriting,” Cheney comments in a statement, issued Wednesday, June 17. “The magical feeling you get from the process of creating something from nothing! Songs can take weeks to write, or they can appear in minutes seemingly out of nowhere, they are the most wonderful, mysterious, powerful things!”

The Living End, he continues, “have always had an incredibly strong connection with our audience around the world through our catalog of songs. I’m thankful and very honored to have done this deal with BMG who I know share the same passion and enthusiasm for music and for this catalog.”

Formed in Melbourne in the 1990s, the trio, with dashes of rockabilly, pop-punk, and indie grit, earned a reputation as a must-see live act, a label that sticks to this day. The rockers’ ARIA Chart-topping self-titled 1998 debut remains one of Australia’s best-selling rock albums, and housed one of the era’s all-time anthems, “Second Solution / Prisoner of Society”.

Over time, the band, comprised of Cheney, Scott Owen and Andy Strachan, have snagged two No. 1 albums, six ARIA Awards, APRA’s song of the year, and a swag of top 10s, including last year’s album release I Only Trust Rock ’N’ Roll, which peaked at No. 5 on the all-genres ARIA Chart.

The Living End was inducted June 11 into the ARIA’s Hall of Fame during a ceremony in Sydney, part of a class that included the late Gurrumul, Jenny Morris, Kate Ceberano, Spiderbait, and Vika & Linda. 

“The Living End has been the soundtrack to countless Australian stories and memories while the band has simultaneously achieved cult status internationally as one of the best live rock bands of all time,” comments Heath Johns, president, Australia, New Zealand and Southeast Asia, BMG.

“As The Living End enter the ARIA Hall of Fame, we are incredibly honored that Chris has chosen BMG as his forever home for these iconic publishing rights, and we look forward to finding new opportunities for them at home and abroad.”

A year after the death of New York City nightlife fixture Billy Jones, a foundation has been launched in his honor.

The newly announced Billy Jones Forever Foundation encompasses a scholarship and mentorship fund that will annually award a group of emerging music professionals with direct financial support to use for relocation, housing, equipment, travel and more. Recipients will also receive long-term mentorship and access to a network of industry relationships intended to create lasting support.

Donations and scholarship applications are now open here. The Billy Jones Forever Foundation is a fund of Make Something, a registered 501(c)(3) nonprofit organization.

A musician, curator, club owner, manager and more, Jones died last June at age 45 after facing glioblastoma, an aggressive form of brain cancer. He is remembered by friends, family and colleagues as someone who loved music, nightlife, culture and New York City. He co-founded and owned beloved Brooklyn indie venue Baby’s All Right, a 280-capacity club that opened in 2013 and hosted performances by a host of luminaries including SZA, Cypress Hill, Lil Yachty, Blood Orange, Charli xcx, Mac DeMarco, James Murphy, David Byrne, Hot Chip, Courtney Barnett, Willow Smith, Jack White and Billie Eilish.

“Billy was devoted to music, to New York and to the creative, talented dreamers and risk takers who make this city what it is,” Jones’ sister BreAnn Tassone said in a statement. “Though he had to leave us, he still has work to do. We are excited and grateful to know he can still do the work he was so passionate about through the recipients of this organization. We are so proud that Billy’s legacy is one of connection, inspiration and community. His positivity, magic and ‘Yeah, let’s do it!’ spirit can live on here. For us, his family, that means more than words can say.”

“Billy was one of the most true blue real rockers I have ever met in all my travels,” adds his close friend David Jacobs, “and because he lived with such integrity and unwavering commitment to his music community, we wanted to honor that spirit forever, and this scholarship felt like the perfect way to pay it forward, just as Billy did every day we were lucky enough to have him around.”

Mystikal (Michael Lawrence Taylor) has been sentenced to 20 years in prison, according to WBRZ. The “Shake Ya A—” rapper was sentenced in Louisiana’s Ascension Parish Court on Tuesday (June 16).

Mystikal pleaded guilty to a third-degree rape charge in March after being arrested in July 2022.

The Grammy-nominated rapper was arrested following an altercation with a woman at his Louisiana residence, which saw him allegedly choke, assault, rape and rob the victim.

Per WBRZ, Mystikal is accused of holding the woman’s keys and keeping her against her will until she sent him money through CashApp.

The victim faced the court on Tuesday, where she claimed that Mystikal “punched her, choked her, pulled braids out of her hair and forcibly raped her.” She was also hospitalized and treated for minor injuries at the time of the 2022 altercation.

“If I did that to you, I deserve the max sentence,” Mystikal reportedly told the courtroom.

Prior to entering a plea agreement in March for a solo third-degree rape charge, Mystikal faced charges for first-degree rape, felony domestic abuse by strangulation, false imprisonment, simple robbery and criminal damage to property. If convicted of first-degree rape, Mystikal would have faced life in prison.

WBRZ also reported that Mystikal and his attorney filed a motion to withdraw his guilty plea last week, citing that the rapper didn’t “have sufficient opportunity to fully consider the consequences.” However, that motion was dismissed by the court.

The New Orleans rapper has a history of sexual assault allegations prior to the 2022 arrest. In 2004, Mystikal was convicted of sexual battery and extortion of his hairstylist. He served six years behind bars and was released in 2010.

Mystikal was arrested on rape and kidnapping charges in 2017. After posting a $3 million bond in 2019, the charges were dropped in 2020.

Mystikal is best known for early 2000s hits like “Shake Ya A–,” which peaked at No. 13 on the Billboard Hot 100. He also hopped on Joe’s “Stutter,” which topped the Hot 100 for four weeks in 2001.

Billboard has reached out to Mystikal’s attorney and the District Attorney’s Office for comment.

Rocky Horror Picture Show fans will be shivering with antici…pation for Sphere’s newest movie experience.

The cult classic musical is coming to the Las Vegas venue in 2027 via a special arrangement with Primary Wave Music and 20th Century Studios, Sphere Entertainment announced on Tuesday (June 16). As it did with The Wizard of Oz, Sphere Entertainment says it will use its “advanced technologies to enhance” the original 1975 film for the venue. In the case of the former film, Sphere used AI to expand the film’s visuals to better fit the venue’s curved, 160,000-square-foot screen. It also digitally restored them using an AI-powered “super resolution tool” to render the images in “ultra-ultra-high-definition,” according to Google, which worked with Sphere on the project. Due to the expanded canvas, “composites” of characters were also added to some scenes in which they were originally absent.

“Through Sphere Studios, we are building a slate of original experiences that push the boundaries of technology and storytelling for this new medium, while always keeping the audience at the center of the experience,” said Jim Dolan, executive chairman and CEO of Sphere Entertainment, in a statement. “Since The Rocky Horror Picture Show premiered in 1975, it redefined audience participation and became a cultural phenomenon. With Sphere, we have the opportunity to take that spirit of immersion to an entirely new level.”

Also on Tuesday, Sphere Entertainment announced that The Wizard of Oz at Sphere has now generated more than $400 million in ticket sales, with more than 3 million tickets sold since the experience debuted at the venue on Aug. 28, 2025.

For updates on The Rocky Horror Picture Show at Sphere, visit thesphere.com and sign up for the Sphere newsletter.