While catalog music has traditionally referred to songs released anywhere from three years to decades ago, music investment company Duetti said on Tuesday (June 9) it is acquiring songs released as recently as six months ago, and it is launching a new in-house remixing program with indie artists to work those new songs.

Duetti says it is hiring independent artists to remix, cover and create new derivative works from the more than 30,000 tracks in its catalog. Artists will earn a share in the future royalties of the new songs, and Duetti will cover distribution and marketing costs.

As competition for investing in masters and publishing royalties has increased in the years since streaming introduced stable cash flows and reams of consumption data to music, Duetti’s strategy since 2022 has been to buy songs released as recently as two years ago. While major music companies and catalog acquisition funds have considered these to be riskier assets, Duetti CEO Lior Tibon says they’ve invested in the data and forecasting tech to confidently underwrite investments and project future cash flow for much newer songs.

“It’s just another step in the innovation in what we’re trying to bring to the market,” Tibon tells Billboard. “What we do best is predict future performance and value music, simplify business processes that are notoriously difficult to automate and make easy, and find new audiences and improve revenue potential [through] marketing. [What] we are developing will allow us to offer more options and products.”

The initial two-year parameter was somewhat “arbitrary,” Tibon says, and the company’s investments in data engineering, forecasting and “proprietary AI-driven predictive models [enable it] to materially lower the master acquisition age threshold from two years to six months following the initial commercial release.”

The company has already worked with more than 200 artists, including RxPapi, Jesse Barrera, and Ingrid Contreras, to acquire stakes in tracks that were released less than two years ago. Financing for acquisitions of these songs will come specifically from an existing $75-million credit facility Duetti has with Viola Credit. (In January, Duetti said it raised $200 million through equity investment and debt financing, bringing the total amount it has raised to $635 million.)

“We underwrite data and track record, and we’ve had a long relationship with Duetti that… has never been a creative one; it has been grounded in alignment on underwriting and risk management,” Viola Credit partner Michael Chen. “The beauty of what Lior has built is a technology platform that gets to the bottom of [consumption data] to provide meaning in the data.”

The remixing program adds a key pillar to Duetti’s marketing strategy, Tibon says. To date, Duetti has released 200 remixes and derivative works from over 100 artists across genres, including rap, baile funk, and house music, across North America, Europe, and Latin America. The company says collaborators include Satin Jackets, Kowloon, MC Leleto and rising hip-hop performer zai1k.

The collaboration with zai1k started with Duetti reaching out and pitching him songs from its catalog they hoped he would remix. After zai1k selected “Dangerous” by David Hugo, Duetti connected the two, booked a studio for them to track new vocals and tweak production of the original record. Later, Duetti helped finance a music video for the track, paid zai1k a fee for co-creating the song, which he and David own stakes in, and the company began promoting the song across its owned playlists, through influencer campaigns and other means.

“By using AI insights and analytics, we’re able to identify the right remixing artist and pair them with a globally rich catalog built for reinterpretation – all while ensuring collaborations are fully authorized and artist-approved,” Elliot Baumohl, Duetti’s head of music growth, said in a statement. “We’re creating the fastest, simplest remix process in the industry.”

The company says it plans to expand the remixing program to songs in its catalog from genres like phonk, dancehall, and reggaeton, which it hopes will deepen its footprint in key markets outside the US, including Germany, France and Latin America. 

Who is bbno$?

If you ask the music industry, he’s one of the most successful anomalies on the global charts.

He’s the always-viral rapper, singer and songwriter who’s earned more than a billion Spotify streams, back-to-back Juno Fan Choice Awards and prime upcoming slots at Bonnaroo, Lollapalooza and NXNE next week (check back at Billboard Canada for more details).

He’s the artist who has record labels scratching their heads by reaching the fans they wish they could, right where they live: on the internet. He’s also someone who describes his live show as “the dumbest thing I’ve ever seen in my life” and means it as high self-praise.

But for the 30-year-old Vancouver native, the tougher question is: who is Alex Gumuchian?

“It’s a fine line,” he says, speaking over Tibetan momos at Loga’s Corner in Toronto. “I use bbno$ as an avenue to be the most extravagant self I want Alex to be on a regular basis, but I can’t.”

His music has helped him find his voice and his confidence. Now, he’s focused on figuring out the man behind it.

bbno$ (pronounced “baby no money” not bibinos) is currently on the Internet Explorer Tour, his biggest-ever global tour on the heels of his self-titled 2025 album that hit No. 33 on the Billboard Canadian Albums chart and spawned the hit “check,” which took over the airwaves and landed at No. 50 on the 2025 Year-End Billboard Canada Radio Songs Chart. 

A bbno$ show is a high-energy and unpredictable event, filled with memes, costumes, props and laser dicks. It’s also extremely supportive, a space for fans to be their weirdest selves and bond over brain rot. It’s like a non-toxic version of the internet come to life.

For Gumuchian, that’s important. Online is where he found community as a homeschooled child in B.C.

“It was kind of like my main friend,” he remembers. “I played World of Warcraft for years, and I met so many people that way. I fell in love with how much community there is [online]. The most important thing for me is distilling that for people who enjoy positivity and want to have fun, because there’s so much of the opposite in the world.”

In this new Billboard Canada cover story, he opens up about the man behind the music. From sexuality to strategy, he’s creating a sanctuary for himself — and his fans — to express themselves freely.

Read the full story here. — Richard Trapunski

Billboard Canada Announces Matthew Burnett and Jordan Evans as Music Managers of the Year for 2026

Matthew Burnett and Jordan Evans are Billboard Canada‘s 2026 Managers to Watch.

The powerhouse duo behind Daniel Caesar have been working closely with the R&B singer from the very start, helping guide one of the biggest Canadian careers and breakthroughs of the last decade. From the early days before Freudian in the mid-2010s up to the recent unconventional rollout of Son of Spergy which included spontaneous pop-up shows in parks across Canada, both managers have drawn from their backgrounds as creatives to help Caesar thrive as an artist.

The pair will receive the honour in person during the Billboard Canada Managers to Watch x MMF Honour Roll celebration at SOUNDSTAGE on June 11 at NXNE, which honours the unsung architects of the music career who contribute to generation-defining success among artists and create community for their fellow industry peers. 

Music Managers Forum Canada (MMF Canada) has also revealed the recipients of its 2026 Honour Roll, which celebrates outstanding career achievements among Canadian music managers and self-managed artists. Partnering with Billboard Canada for a second consecutive year, MMF Canada will honour Helen Britton and Shauna de Cartier as its Honour Roll recipients.

The award denotes outstanding achievement among Canadian managers. Both women are powerhouses at Six Shooter Records, a pioneering female-led independent record label which celebrated its milestone 25th anniversary last year. The roster includes luminaries like Cadence Weapon, July Talk, Tanya Tagaq and more.

Matt Maw will receive this year’s Trailblazer Award from MMF Canada, which celebrates a manager carving new paths in the industry. Maw is recognized for his outstanding work in the recognition of Indigenous music in Canada. Maw capped off a groundbreaking year with the launch of his new artist development company SUPERCONNECTED, whose roster is home to Indigenous artists like Sebastian Gaskin, Boogey The Beat, Wolf Saga and Miesha & the Spanks.

The full Billboard Canada Managers to Watch list will be out next week.

Read more and find out how to get tickets here.

Diljit Dosanjh Meets the Students of His Toronto Metropolitan Course Backstage at Rogers Centre

Nearly 50,000 fans packed Toronto’s Rogers Centre on Sunday night (May 31) as Diljit Dosanjh returned to the stadium for another massive stop on his ongoing Aura World Tour, further cementing his place as one of the biggest global touring artists in Punjabi music.

The sold-out concert marked Dosanjh’s second time headlining Rogers Centre and quickly became one of the most talked-about live music moments of the weekend.

The concert was attended by the students of the Toronto Metropolitan University course dedicated to the singer in partnership with Billboard Canada. The students met with the Punjabi icon backstage before he took the stage. Dosanjh later performed an extended version of “Ranjha,” the song first premiered inside their classroom.

With videos flooding social media showing stadium-wide singalongs, Punjabi flags across the venue and fans filling every section of the open-roofed venue.

The Toronto stop marked another major milestone in Dosanjh’s rapid global rise over the last few years through appearances at Coachella, the Met Gala and multiple international arena and stadium tours. But beyond the scale of the Rogers Centre performance itself, fans also closely followed the singer’s time around Toronto throughout the weekend.

Ahead of the concert, Dosanjh shared clips on Instagram of himself biking through downtown Toronto, casually riding through the city before stepping onto one of Canada’s biggest stages hours later.

Videos shared on Team Diljit’s social pages also showed the singer admiring the CN Tower and reacting to the landmark in Punjabi, while another Instagram Story gave fans a glimpse of him enjoying tiramisu during downtime between tour commitments.

Read more here. — Peony Hirwani

Florida Georgia Line has signed with The Core Entertainment for management, further signaling that one of country music’s most successful duos is back in business together.

The Core Entertainment had already begun managing FGL’s Tyler Hubbard as a solo act several months ago, but has now added the group, which is composed of Hubbard and Brian Kelley.

The pair went on hiatus in 2022, with each releasing solo music, but reunited in March at Country Radio Seminar to help honor Jason Aldean. They then popped up at Nissan Stadium Thursday night (June 4) for CMA Fest, announcing, “We back, baby!” after playing “Round Here” and “Cruise.”  

“CMA Fest, it feels so good to be here with my brother,” Hubbard said from the stadium stage. “And listen, we got three things we want to say tonight. First of all, God is good. Second of all, life is short. And most importantly, your boys … we back, baby!”

There is no word on whether the pair is working on new music, but Billboard has learned that more FGL live shows are coming in 2027. The pair’s last album was the deluxe version of 2021’s Life Rolls On, which came out on Nashville Harbor (formerly known as BMLG Records).

FGL have been dropping hints that a reunion was coming. In January, Kelley posted a video on Instagram of himself and the words “after going on the hike with T-Hubb” that then segued into a video of Jon Hamm as his Your Friends & Neighbors character tripping out at a club.

The post drew a slew of comments, including from Hubbard, who responded with two walking emojis and a pumped bicep, while HARDY wrote, “Do I need to start writing FGL songs again?” and ERNEST wrote, “The hike heard round the world.”

On the red carpet at the Academy of Country Music Awards last month, Hubbard said the pair had been “flirting with the idea of playing a handful of shows next year.”

Following the duo’s massive debut single, 2012’s “Cruise,” FLG followed up with a slew of hits, including “Round Here,” “Stay,” “This is How We Roll,” “Dirt,” “H.O.L.Y.,” “Simple” and “Long Live.”

The Core Entertainment, helmed by co-founders/co-CEOs Simon Tikhman and Kevin “Chief” Zaruk, also manages Nickelback, Dan + Shay, Bailey Zimmerman, Nate Smith, Cameron Whitcomb and Josh Ross, among others.

UPDATE (June 4): Reps for Clive Davis tell Billboard that the music executive has been released from the hospital on Thursday. “Clive was discharged from the hospital earlier today,” the statement reads. “He is in good spirits and happy to be recuperating at home.”

PREVIOUSLY: Clive Davis has been hospitalized following an upper respiratory issue.

The legendary music executive, 94, was admitted to a New York City hospital on Friday (May 29), Billboard has confirmed. A representative for Davis told TMZ that he is being treated for an upper respiratory infection and was admitted to the hospital out of an abundance of caution.

He is expected to be released within the next 24 hours.

The hospitalization comes just days after Davis attended the Gordon Parks Foundation Awards Dinner and Auction in New York City, Page Six reports.

The iconic label boss, who helped shape the careers of artists including Whitney Houston, Bruce Springsteen, Aretha Franklin, Janis Joplin, Carlos Santana and Alicia Keys, has faced health challenges in the past. In February 2021, Davis postponed his annual pre-Grammy gala after being diagnosed with Bell’s palsy, a temporary condition that causes weakness or paralysis in facial muscles.

“He’s being treated with antibiotics and steroids and will make a full recovery within six to eight weeks, at which point he plans to host the second installment of the virtual pre-Grammy gala,” Davis’ rep said at the time.

Davis’ star-studded pre-Grammy gala has been held on the eve of the Grammy Awards each year since 1976.

A four-time Grammy winner and Rock & Roll Hall of Fame inductee, Davis is widely regarded as one of the most influential executives in modern music history. After entering the music business in the 1960s, he became president of Columbia Records in 1967 at age 35. Over a career spanning more than six decades, he held executive roles at CBS Records, founded Arista Records and J Records, later led RCA Music Group, and most recently held the title of chief creative officer at Sony Music Entertainment.

In recent years, the National Independent Venue Association’s advocacy efforts have been focused on the Department of Justice’s monopoly case against Live Nation, which resulted in a jury finding that the company illegally monopolized the market for ticketing services and the use of amphitheaters. In April, it also found that Live Nation illegally tied the use of its venues to its concert promotion services.

Now, as the association heads into its fifth annual conference, NIVA executive director Stephen Parker says the association is turning its attention to ticketing resale caps and building a more stable future for independent venues and promoters.

“This conference is more about our vision for what live entertainment looks like in a post-monopoly world. My hope is that our NIVA members are able to articulate what that vision should be,” Parker tells Billboard of the NIVA ‘26 gathering that will take place June 7-10 at various independent venues in Minneapolis. “We have been working towards a future that’s better, not just working to make sure that one company is help accountable.”

The four-day conference will kick off with a Sunday night opening party in celebration of Prince, who was a frequent performer and visitor of renowned indie venue First Avenue, where the opening party will take place. From there, NIVA will address the attendees on the current “state of live,” followed by panels on everything from marketing, ticketing platforms, food and beverage strategies, dealing with the growing number of performing rights organizations and the resale cap legislation that is being introduced across the country.

As of June 2026, 20 states across the U.S. have introduced legislation that would cap the price of concert tickets on secondary ticketing platforms like StubHub, SeatGeek and more. The wave of bills comes as fans are feeling gauged by sky-high ticket prices, while the price of a night out also continues rising.

“There’s not a single state that introduced a resale price cap this year that we went to and said, ‘Please introduce this legislation.’ In some cases, we just saw it drop,” says Parker. “The fact is, this has been such an organic movement, a bipartisan organic movement, to see a problem and see a solution and work towards that solution.”

Maine and Vermont are the only two states that have signed resale cap legislation into law, while states including New York and California have similar laws up for consideration. “We’re going to talk about all the dollars that have been spent to defeat this legislation and how we have spent very little getting a couple of these passed in the last year,” Parker says. “We’re gonna talk about how this is basically artists, fans and everybody who actually is in the live entertainment industry against scalpers.”

The conference will take place across what Parker calls an “incredible indie venue scene” in Minneapolis including First Ave and 7th Street Entry, storied Jazz club The Dakota, new space Green Room and the musician hangout Ice House. Despite the turmoil Minneapolis faced earlier this year with the Immigration and Customs Enforcement operations and the killing of civilians Renée Good and Alex Pretti, Parker says Minneapolis NIVA members wanted the conference to take place in the city.

“We heard from the community early on, the one thing that the venues and the community leaders wanted more than anything was for people not to abandon them,” Parker says. Minneapolis mayor Jacob Frey will welcome attendees to the conference on June 8 at the Pantages Theater.

Other notable speakers at NIVA ‘26 include CAA agent Carly James, The Daily Show comedian Jordan Klepper, as well as musicians Jimmy Jam, Cornbread Harris, Cory Wong of Vulfpeck and The Black Keys’ Patrick Carney.

The main focus, Parker says, will be detailing plans for a more sustainable independent live sector. The conference will discuss what the association and its members are doing to support the cultural infrastructure across the country by lobbying for tax credit programs or live performance funds that can help independent venues and creating more music offices at the city and state levels.

“What can we do to make sure that live performance isn’t just something that politicians and policy makers go to, but something that politicians and policy makers create a seat at the table for at the state and local level, and at the federal level across the country,” Parker says. “Let’s get past the monopoly. Let’s get past the predatory resale and let’s focus on the things that matter which is building the infrastructure that we need for independent venues and festivals and artists and fans to actually be able to connect without all these other things getting in the way.”

Stu Mackenzie and Lucas Harwood of King Gizzard and the Lizard Wizard, Julia Jacklin, and trials, lead the first wave of Artist In Conversation sessions at BIGSOUND 2026, one of the most popular daytime spots during Australia’s annual conference and showcase smorgasbord.  

King Gizz, as they’re affectionately known in these parts, are BIGSOUND alum, having performed during the nighttime program back in 2013. The prolific group has gone on to own their lane in the psych-rock space, smashing out a remarkable 25 albums (including five in one year), launching a label (p(doom) Records) and standing out as one of Australia’s leading music exports.

Jacklin, too, has graced the BIGSOUND showcase stages. The indie alt-pop artist made her BIGSOUND debut in 2016, just ahead of the release of Don’t Let The Kids Win, the first of her three studio albums.

A two-time ARIA Award winner, Jacklin this week announced her first-ever global record deal with venerated indie label 4AD, and shared details of her 2026/27 tour that will see her perform throughout North America, the United Kingdom and Continental Europe.

Also confirmed for BIGSOUND’s Artist In Conversation lineup is Ngarrindjeri hip-hop producer, composer and innovator, a founding member of Funkoars and one half of A.B. ORIGINAL, his politically-charged project with Yorta Yorta artist Briggs (an Artist in Conversation participant at last year’s BIGSOUND) that won two ARIA Awards and the coveted Australian Music Prize for best Australian album of the year (with 2016’s Reclaim Australia).

Trials (real name: Daniel Rankine) recently supported Hilltop Hoods on their 10-date arena tour of Australia, and last month released his debut solo project hendle. Also, he has been throwing his support behind Full Stop Australia, one of the country’s leading sexual, domestic and family violence response and recovery services, with profits of his merchandise t-shirt sales from every show donated to the organization.

Previous Artist In Conversation guests have included Tony Watson (aka Tones And I), Kelis, Mallrat, Blur’s Dave Rowntree, and Amy Taylor of Amyl And The Sniffers.

This year’s 25^th anniversary edition of BIGSOUND will play out in the vibrant entertainment district that is Brisbane’s Fortitude Valley, from Sept. 1-4.

International guests confirmed for BIGSOUND 2026 include reps from Partisan Records, Pitchfork, Bonnaroo, Soho House, MOM+POP, ROAM Artists, Reeperbahn, DMT Law Firm, Carpark Records, The Great Escape, True Panther and SXSW.

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“BIGSOUND has always been a place where real connections happen, and this year we’re focused on creating even more opportunities for Australian and New Zealand artists and industry to connect with each other and the global market,” comments Kristy Ellis, interim CEO, QMusic, producers of BIGSOUND. “The program focuses on the conversations the industry is having right now — how the business is changing, how we stay ahead, and how Australian and New Zealand artists continue to grow on the global stage.”

Visit bigsound.org.au for more information.

Billboard is now live in India, the world’s most populous nation.

Launched in partnership with Other Side Ventures Pvt. Ltd. and headquartered in Mumbai, Billboard India is said to mark a new chapter in how Indian music is documented and celebrated worldwide. 

The new title will be familiar to readers of the flagship Billboard, coupling a deep range of multimedia editorial content with charts, lists, music awards, and more, cut with a domestic flair to reflect the diversity of India’s vibrant music communities.

“India is already one of the world’s largest music markets by volume,” comments Priyanka Khimani, media advisor and driving force behind Other Side Ventures. “Our growth story isn’t from one city or one language. It’s from every corner of this country,”

Legendary composer Ilaiyaraaja is the first cover star of Billboard India. The homegrown screen music icon has composed for 1,500 film soundtracks, and this year celebrates his 50th year in music.

“There couldn’t have been a more superlative name to launch our first cover than Ilaiyaraaja,” adds Khimani. “His legacy, body of work and music superiority speaks for themself. It was our privilege to be able to capture him as he celebrates an important milestone in his career.”

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A culturally rich nation, India, of course, is home to Bollywood, a film industry that creates stars who shine globally. Its 1.4 billion population is mostly young, and many are plugged into the country’s music and movie industries. Some 450 million Indians are under the age of 30, and, according to the IFPI, are increasingly captivated with the next generation of Indian music stars that are crossing over from the silver screen.

Experts predict a boom is on the way. Domestic creator collections roared to roughly US$75 million in 2024, according to data published by CISAC data, representing a 42% year-on-year increase. Separately, India now ranks as the world’s 15th largest recorded music market, the IFPI reports.

The new platform has no shortage of content to explore. Billboard India will capture the dominance of film soundtracks, through to the explosive rise of independent artists, a statement reads, and serve as the “definitive voice” of Indian artists across all languages, including Hindi, Punjabi, Tamil, Telugu, and more.  

Its leadership team is helmed by Preeti Nayyar, who is appointed chief operating officer, and Mohini Chaudhuri as content strategy director. Other key appointments include, Amruta Ramesh (creative director), and Vidya Sivalenka (charts lead). 

“At Billboard, we are committed to celebrating any music ecosystem that includes artists, executives, trends, achievements and stories shaping today’s global music landscape,” notes Mike Van, CEO of Billboard. “Billboard India marks an exciting step in that mission, as the Indian music industry and its global diaspora continue to command growing attention and influence worldwide. With a market as culturally rich and diverse as India, this launch reflects both the scale of the opportunity and the strength of the Billboard India team, whose depth and editorial ambition set a powerful foundation for what’s ahead.” 

Billboard India is headquartered in Mumbai and is now live at billboardindia.com and across social platforms. 

The Canadian government is stepping in to support Canadian music and media amidst debates around the Online Streaming Act.

This morning (June 3), the government announced that it will offer immediate financial support for music, audio and audiovisual media with a $600 million yearly investment. The release says funding will “provide stability and immediate support to Canada’s audio and audiovisual sectors and keep our culture accessible and affordable for all Canadians.”

The mandate is a direct response to the Canadian Radio-Television and Telecommunications Commission (CRTC)’s recent announcement of plans to triple the base contribution rate that foreign streaming companies and Canadian broadcasters with a yearly revenue of over $25 million pay to Canadian Content, potentially raising it to 15%, up from the original 5%. The legislation has become a target of many U.S. politicians during negotiations of the CUSMA trade agreement between the two countries.

“Canadians should be able to see themselves in the films and series they watch and hear their lives reflected in the artists they listen to. That’s why we are investing to support the audiovisual and audio sectors now, while bringing necessary stability as we develop new directions that will ensure Canadian content remains affordable and that our stories continue to shape our identity and how the world sees us,” says Marc Miller, Canada’s Minister of Canadian Identity and Culture.

The base contributions would contribute $200 million in increased funding and benefit organizations like nonprofit music funders FACTOR and Musicaction, Canadian Starmaker Fund and Fonds RadioStar, Community Radio Fund of Canada, Indigenous Music Office and more. A spokesperson from the Minister’s office confirms to Billboard Canada that the $200 million in funding will now be contributed by the government.

An additional $220 million will go to Services of Exceptional Importance like the Aboriginal Peoples Television Network (APTN), The Weather Network and CPAC (Cable Public Affairs Channel). Another $180 million in additional investment will be determined after consultations with stakeholders in the industry.

The so-called “streaming tax” was originally mandated by the CRTC in its implementation of the Online Streaming Act, which was passed in 2023, the first major update to broadcast regulations and Canadian Content in many decades. The implementation would require streaming services like Spotify, Apple Music and Amazon Music to financially contribute to fostering Canadian and Indigenous content in the country.

These companies have pushed back against the original contribution rate during a series of court hearings that were held in Gatineau throughout 2025, where more than 150 Canadian companies and groups spoke on the topic of the Online Streaming Act, including ADISQ, FACTOR and Music Canada. The federal investment will account for much of the funding that would have come from the contributions.

“Canadian music is more than entertainment, it is one of the ways we tell our stories, reflect our communities and express who we are as a country,” says Meg Symsyk, president & CEO of FACTOR. “At a time when global platforms are consolidating and have unprecedented influence over what audiences discover and consume, it is more important than ever that Canada continues to invest intentionally in its own creators and creative businesses.”

“This announcement recognizes that a strong cultural sector does not happen by accident,” she continues. “It requires ongoing investment, partnership and a commitment to ensuring Canadian voices can be heard and discovered at home and around the world. Canadian songwriters, musicians and music companies have repeatedly demonstrated that they can compete on the world stage when they have access to the right tools and opportunities.”

Music Canada, which advocates for all three major record labels in Canada, also welcomes the news. The organization had previously filed to intervene in the legal challenge over the CRTC’s decision.

“We champion policies that help Canadian artists succeed at home, reach global audiences, and compete in today’s music streaming marketplace,” says Patrick Rogers, CEO of Music Canada. “Today’s announcement by Minister Miller does that by demonstrating the government’s strong commitment to supporting the cultural sector, while keeping the streaming services Canadians love affordable and recognizing that the tools used to regulate the traditional domestic broadcasting sector won’t work for the entirely different model of streaming.”

Miller has also directed the CRTC to review its recent requirements on Canadian broadcasters and online streamers. The government says it is looking to adjust the Online Streaming Act with new policies that strive for accessibility, affordability and flexibility for streamers, all while pushing diverse local content to the forefront.

The government also plans to invest in Indigenous storytelling, which reflects a 2025 national report by the Indigenous Music Office (IMO) that outlined the importance of promoting Indigenous Music in Canada during this pivotal moment. It is also looking to ensure strong support for French-language programs, which recalls Quebec’s Bill 109, passed in Dec. 2025, to improve the discoverability of French-language content by imposing content quotas on major streaming platforms. Similar to the Online Streaming Act, Bill 109 received major pushback from the Digital Media Association (DIMA), which represents major streaming platforms like Spotify, Apple Music and Amazon.

“We are encouraged by the government’s clear recognition that championing Canadian culture must go hand-in-hand with protecting affordability, innovation, and consumer choice. By directing the CRTC to review its framework and stepping up with federal investments for the cultural sector, the government has shown a commendable willingness to listen to the concerns of the digital industry, creators, and everyday consumers,” DIMA says in a statement.

Conversely, the Alliance of Canadian Cinema, Television and Radio Artists (ACTRA) sees the removal of mandatory contributions towards CanCon as detrimental to the growth and visibility of Canadian Content. In a release today, the union says the new $600 million federal contribution “lets billionaire streamers off the hook” and “hands a $600 million bill to Canadian taxpayers.”

“We endured years of debate to finally get an Online Streaming Act that would require billionaire-owned streamers to pay the bare minimum into Canadian culture. We thought we were finally there,” says ACTRA national president Eleanor Noble. “Rather than requiring wealthy media companies to modestly invest in Canada’s cultural ecosystem, Ottawa has chosen to transfer that responsibility to Canadian taxpayers under the guise of ‘consumer protection’.”

The spokesperson from the Minister’s office says that while audio services will no longer have to pay into funds, the government will continue to work with them on non-monetary actions to promote and foster Canadian Content, including measures for discoverability, an updated MAPL definition of CanCon and more.

This story was originally published by Billboard Canada.

Cardi B is asking for gossip blogger Tasha K to refund more than $100,000 in legal fees as a punishment for violating a settlement with talk of the rapper’s love life.

Tasha (Latasha Kebe) is in contempt of court for defying the bankruptcy settlement she signed last year to facilitate the payment of a $4 million defamation judgment to Cardi (Belcalis Almánzar). Tasha, who lost to Cardi at a 2022 trial over outlandish claims about drug use, STDs and prostitution, agreed as part of the repayment plan not to make any more disparaging statements about the star or her family.

U.S. Bankruptcy Judge Scott M. Grossman held last month that Tasha violated that deal with social media posts and radio show comments about Cardi’s estranged husband, Offset, and NFL player Stefon Diggs, the father of her youngest child. As a consequence, the judge said Tasha would have to cover the legal fees that Cardi racked up paying attorneys to monitor the blogger’s social media accounts and enforce her compliance with the settlement.

In a Wednesday (June 3) filing, first obtained and reported by Billboard, Cardi’s lawyers now say that the fees come out to $110,115. This is the amount billed by two law firms, Meland Budwick and Moore Pequignot, for more than 100 hours of “time-intensive and legally complex” work.

“The compliance enforcement award category required continuous monitoring of debtor’s social media activity across multiple platforms over a period of more than fourteen months following confirmation, the systematic documentation of violations spanning YouTube, X (formerly Twitter), Instagram, Facebook, Threads and TikTok, as well as public radio broadcasts, and the preparation of a detailed evidentiary record for the motion,” write attorneys James Moon and Lisa Moore.

Tasha’s lawyer did not immediately return a request for comment on the fee accounting. The blogger has two weeks to respond in writing to Cardi’s request before Judge Grossman makes a final ruling.

Tasha declared bankruptcy in 2023, a year after a federal jury said she owes Cardi millions for making false and defamatory statements about the superstar on YouTube and other platforms. The blogger claimed she didn’t have the funds for this judgment and that it should be thrown out in the bankruptcy process.

But Cardi, who notably tweeted “imma come for everything …..BBHMM” (“b—- better have my money”) after the verdict, objected and urged the court to keep Tasha’s debt alive. Judge Grossman ultimately ruled in Cardi’s favor and refused to discharge the judgment.

In the wake of that ruling, Tasha filed a plan last February to pay $1.2 million to Cardi over five years and refrain from speaking publicly about her. Under that arrangement, Tasha still owes the remaining balance of the $4 million defamation verdict down the line.

The court approved Tasha’s plan, and relations between her and Cardi remained relatively peaceful for about a year. But that all changed in April, when the rapper’s attorneys alleged that Tasha must be punished for “willful violations” of the non-disparagement agreement.

Then, in May, Cardi filed a new lawsuit against Tasha’s husband, Cheickna Kebe, for allegedly plotting a fraudulent scheme to move around the couple’s assets so they would be shielded from collection after the defamation judgment. Cheickna has not yet responded to the claims in court.