Late nights. Early mornings. Drugs. Booze. Constant touring. While working in dance music offers its own distinct pleasures, it also comes with these distinct challenges.

Now, mental health and wellness nonprofit Backline has launched a mental health toolkit made specifically for dance artists and other professionals, particularly those who tour. Available for free through the Backline website, the guide offers detailed advice on packing for tour, preparing to be away from loved ones, supporting one’s immune system while on the road, hearing health, sleep optimization, venue safety, substance and much more.

Access the Backline EDM Mental Health Toolkit here.

“Music is therapeutic, but in live electronic it’s also a lot of late nights, early mornings, sets until sunrise and then flying to the next city,” Backline co-founder and executive director Hilary Gleason says in a statement. “Backline is committed to taking care of the artists and community who are so generous with their time and talent, and we designed these tools to meet the EDM scene where they are with specific resources for their unique needs.”

“Seeking help is not something to be ashamed of,” dance legend Armin van Buuren is quoted within the guide itself. “The most important thing is to get rid of the shame. The cave you fear holds the treasure you seek. Ultimately, you can’t escape yourself.”

“We see firsthand how demanding this space can be,” adds LP Giobbi, “and tools like this are essential for empowering artists and industry professionals to look after themselves and each other.”

Backline was co-founded by Gleason in 2019 as a resource to offer support and help for those across the industry. Most recently, the organization created a 24/7 Mental Health and Crisis Support Line that launched in January. This service, B-LINE, has had more than 250 people reach out since its launch. The nonprofit also offers one-on-one case management connecting individuals to vetted providers and wellness resources such as mindfulness and yoga.

The organization reports that since 2019, it has invested $5 million into mental health and wellness in the music industry and served 3,000 people through its Case Management program. 

Warner Music Group (WMG) reported on Thursday (May 7) that first-quarter revenue rose 17% compared to last year on double-digit percentage growth in recorded music and publishing revenues, with major releases from artists including Bruno Mars and sombr contributing to the uptick.

Total revenue came in at $1.7 billion, driven by $1.38 billion in recorded music revenue, up 17%, and $353 million in music publishing, up 14% compared to a year ago. Operating income of $264 million was up 57%, and adjusted operating income before depreciation and amortization rose 31% to $397 million.

“After years of doing hard, unsexy, foundational work, after making tough organizational decisions and redesigns and difficult decisions while growing the business, we have now hit our stride,” Warner CEO Robert Kyncl said on a call discussing the results. “It feels great to work hard for years and now have consistent delivery, and it feels great to have confidence about the future.”

Digital revenue rose 16.7% to nearly $1.2 billion across the recorded music and publishing divisions, with streaming revenue rising 17.1%. Recorded music streaming revenue increased 16.5% and music publishing streaming revenue increased 20.0% overall, driven by broad-based growth in recorded music artist services and expanded rights, and physical revenue; along with music publishing synch and mechanical revenue.

Foreign exchange rates had a significant impact on WMG’s earnings, but, while it was detrimental to Universal Music Group’s earnings, the strengthening U.S. dollar resulted in a $22 million gain in the quarter on WMG’s euro-denominated debt. WMG also reported a currency exchange gain on intercompany loans of $12 million in the quarter, versus a $27 million loss in the year-ago quarter. Both contributed to WMG’s profit rising to $181 million from $36 million in the year-ago quarter.

Adjusting WMG’s earnings on a constant currency basis, which strips out foreign currency fluctuations, total revenue rose by 12%, and adjusted OIBDA rose 24%.

In addition to Mars and sombr, first-quarter releases from Alex Warren and Ed Sheeran helped drive recorded music revenue growth up 17.4%, or 12.7% in constant currency. Digital revenue was up nearly 16%, artist services and expanded-rights revenue rose 28.6%, and physical revenue rose 22%.

Music publishing revenue rose nearly 14%, or 9.6% in constant currency, bolstered by a nearly 20% increase across digital and streaming revenue following new publishing deals and renewals. Performance revenue rose nearly 10%, and synchronization revenue edged up $1 million compared to the year-ago quarter.

WMG and Bain have spent $650 million from their joint venture, called Beethoven JV, “to acquire a number of heavyweight … iconic, high-margin catalogs,” WMG’s CFO, Armin Zerza, said on a call with investors.

Zerza said the WMG’s reorganization, first announced in 2023, is helping the company achieve profit margin expansion that is at “the high end” of its target, or around 200 basis points of margin expansion this year. Adjusted OIBDA margin expanded by 2.5 percentage points to 22.9% in the quarter.

“At the same time, we are leading the industry in AI initiatives, which we believe will be a material contributor to our top and bottom line growth, starting in fiscal 2027,” Zerza said.

Earnings highlights:

Jason Derulo has emerged victorious in a copyright trial over the writing and production credits on his 2020 chart-topper “Savage Love.”

A jury in Los Angeles handed down a verdict on Thursday (May 7) rejecting the claims brought by session musician Matthew Spatola against Derulo and Columbia Records. This means Spatola won’t recover any royalties from “Savage Love,” a viral TikTok hit from August 2020 that later hit No. 1 on the Billboard Hot 100 thanks to a remix featuring BTS.

A rep for Spatola declined to comment following the verdict. Reps for Derulo and Columbia did not immediately return requests for comment.

Spatola, who played guitar and bass on “Savage Love,” argued during the two-week trial that he also had a hand in crafting the instrumentals and was thus entitled to writing and production splits. Derulo denied this, testifying in court that Spatola just played what he was told and “created absolutely nothing” for the song.

The case, which has been making its way through the court system since 2023, highlighted the prevalence — and potential pitfalls — of informal dealings between artists and their musical collaborators. It is undisputed that Spatola was paid a $2,000 fee for two studio sessions in April 2020. But it’s also undisputed that he and Derulo never formally signed a so-called work-for-hire agreement.

Under copyright law, a work-for-hire agreement confirms that a musician does not have authorship rights despite contributing to a song. In this case, no such deal was signed; Derulo merely texted Spatola after the fact, asking, “1K good each day?”

Spatola alleged that the absence of work-for-hire paperwork was proof that he was more than just a session musician. Derulo countered that these forms just fell through the cracks because “Savage Love” was recorded at the height of COVID-19 quarantine restrictions, “so the people that would typically be in place to give him an agreement just weren’t there.”

Jurors ultimately sided with Derulo after deliberating for just over a day, finding that Spatola hadn’t proved he was a joint author of either the “Savage Love” composition or master recording. They did not give any explanation for their verdict, as is typical.

Critically acclaimed duo The War and Treaty have signed with Atlantic Outpost and will release their first album for the label, The Story of Michael and Tanya, on June 19.

The set, which features Whoopi Goldberg, Valerie June and Wynonna, is preceded by first single “Don’t Say Goodbye,” which drops Thursday (May 7).

The new album, which is available for pre-order, explores the “tension between sacred sounds and secular desires,” according to the label. Among the writers on the project are Babyface, who co-wrote the track “You Can’t Hurt Me Anymore.”

“Evoking hard, honest emotions first required me to find those parts in myself,” Tanya Trotter said in a statement. “Once you find them, there’s a strength to the urgency that feels like you’ll be at your wits’ end if you don’t express that emotion.”

Michael Trotter added, “For The War and Treaty, feeling every aspect of what we’re writing and singing has grown from representing routine emotions to now demanding that people connect with our spirit.”

The married couple was named duo/group of the year by the Americana Music Honors & Awards in 2022 and 2023 after winning emerging artist of the year in 2019.

The two-time Grammy nominees were previously on Universal Music Group Nashville’s Mercury Nashville imprint. They parted ways with the label following the release of their most recent album, 2025’s Plus One.

The War and Treaty reached No. 14 on the Billboard Hot 100 in 2023 with “Hey Driver,” their collaboration with Zach Bryan. 

Billboard honored The War and Treaty with its Groundbreaker Award at the 2024 Country Power Players event for their boundary-busting musical appeal, which makes them equally at home on the CMA Awards stage, at the Newport Jazz Festival or performing as part of a tribute to Jon Bon Jovi at MusiCares.

The duo will headline Nashville’s Ryman Auditorium on Sept. 13. Tickets go on sale to the general public on May 15 through AXS.com.

The Story of Michael and Tanya track list

1. Litty (featuring Whoopi Goldberg)
2. Don’t Say Goodbye
3. You Can’t Hurt Me Anymore
4. Shouldn’t Have
5. Forgive Me
6. Darlene & Gene
7. Reclaim All of Your Time (featuring Valerie June and Wynonna)
8. Lay This Bottle Down
9. Don’t Give Up Now
10. Holy Ghost Fire

French independent music giant Believe has teamed with former 300 exec Az Cohen for a new joint venture, called AZTEC, that will mark Believe’s first U.S.-based record label, the company announced Thursday (May 7). Cohen, the son of industry legend and current YouTube global head of music Lyor Cohen, will spearhead the new venture as its president and founder.

Significantly, AZTEC marks Believe’s first frontline foray into the United States, after spending the past 20 years building a local-music empire in more than 50 territories around the globe. It also solidifies the company’s intentions in the world’s biggest music market, following last week’s announcement of a new label and artist solutions division in the U.S., headed by Thomas Maxwell. Together, the new initiatives — Maxwell overseeing label distribution and services, and Cohen overseeing the new frontline label — as well as TuneCore, the DIY distributor that Believe acquired in 2015, encompass a full stack of services in the U.S. for Believe.

“Our joint venture with AZTEC reflects Believe’s continued commitment to building artist-first partnerships and supporting entrepreneurs who deeply understand the creative and cultural landscape,” Believe’s global head of music, Romain Vivien, said in a statement. “Az brings an exceptional ability to spot talent and build sustainable careers, and together we are creating an ecosystem designed for the next generation of artists.”

Cohen has spent 13 years at 300, the company his father co-founded in 2013 as an indie record label alongside Kevin Liles, Todd Moscowitz and Roger Gold. He served in various A&R capacities as the company — which shepherded the careers of Migos, Megan Thee Stallion, Young Thug, Fetty Wap and more — grew and was ultimately acquired by the Warner Music Group in 2021 for $400 million. During his time at 300, Cohen also launched Sparta, 300’s indie distribution wing, which has racked up more than 8 billion streams across its catalog, according to a press release.

With AZTEC, Cohen hopes to build out lasting careers for the artists he signs, eschewing the quick-hit nature of parts of the business in the social media era. “In an industry that’s become increasingly about quick wins and short-term virality, we are artists, engineers, planners and warriors with a singular focus: building empires with our artists and partners,” Cohen said in a statement. “AZTEC is about patience, commitment and shaping careers that stand the test of time.”

Cohen, who also managed Post Malone early in his career, will be based in New York, with initial signings to be announced in the coming weeks and months. He’ll leverage his own network of sources and contacts, as well as TuneCore’s distribution base and Believe’s global footprint, to help develop those acts. “The success of artists today often starts with hyper-local stories, and it is our job to champion those around the world,” Cohen added. “Believe’s unique position as a truly global company with massive local expertise, via boots on the ground, allows AZTEC artists to be certain that their stories will be shared with new fans, no matter where that fan lives.”

Ye (formerly Kanye West) testified in federal court on Wednesday (May 5) that he followed the right steps to clear a sample for his chart-topping 2021 album Donda and is “very generous” with giving credit to collaborators.

The rapper took the stand in an ongoing Los Angeles trial over early versions of his songs “Hurricane” and “Moon,” which both charted in the top 20 of the Billboard Hot 100 when they were released on Donda in 2021. “Hurricane,” which featured The Weeknd and Lil Baby, also went on to win a Grammy Award for best melodic rap performance.

Four music producers — DJ Khalil (Khalil Abdul-Rahman), Sam Barsh, Dan Seeff and Josh Mease — are alleging that Ye included uncleared samples of their instrumental track “MSD PT2” in demos played of both songs at a Donda pre-release listening party in Atlanta’s Mercedes-Benz Stadium in July 2021.

Ye maintains that the lawsuit is baseless because his team did make an earnest effort to clear the samples, but that the four producers intentionally dragged their feet and refused to approve industry-standard splits. The rapper reiterated this position during his courtroom testimony on Wednesday.

“We went through the normal process to get it taken care of,” said Ye, clad in a grey suit, about his team’s attempt to license “MSD PT2.”

Ye testified that he’s a highly collaborative artist, saying “I pride myself on giving people what they deserve” in terms of credit and royalties. But he said creators sometimes try to extract undue money from him, and this trial is one such example.  

“I feel like a lot of people try to take advantage of me,” Ye told the jury. “As I sit in this courtroom today, I just think people are trying to make more than they otherwise would because it’s me.”

The lawsuit is one among more than a dozen copyright cases Ye has faced throughout his career for allegedly using unlicensed samples and interpolations in his music. It’s the first time he’s taken one of these lawsuits to trial; in the past, he’s settled many of them.

Ye’s testimony, which lasted just over an hour, also touched on his successful music career and collection of accolades. “Music is everything,” he testified. “It surrounds me at all times, and I’m constantly creating new ideas for it.”

The rapper remained calm and expressionless for most of his time on the stand. He did crack one joke, though. When his attorney asked whether he won a Grammy for “Brothers in Paris,” Ye responded, “What’s the real name?” and joined in on a chorus of laughter from the courtroom gallery.

The case dates back to 2024, when the four “MSD PT2” producers sued Ye through a business entity called Artist Revenue Advocates LLC. Initially, they were seeking royalties from the commercially successful final versions of both “Hurricane” and “Moon,” alleging that both tracks interpolated “MSD PT2” in place of the original samples included in the demos.

However, a judge dismissed the bulk of the lawsuit in February after determining that Artist Revenue Advocates owns only the “MSD PT2” master recording rights, not the composition rights. This means that while the company can sue over a sample, it does not have any standing to bring claims over an interpolation.

The judge therefore allowed a narrow trial to go forward only on the early Donda demos, but not the far more lucrative final versions. Damages-wise, the plaintiffs are now seeking a slice of the money Ye made his Atlanta listening party — encompassing ticket sales, merch and a $750,000 livestreaming deal with Apple Music.  

Ye tried to undercut these potential damages during his testimony on Wednesday, telling jurors that his fans would have spent money on this listening party regardless of whether “Hurricane” and “Moon” were featured.

“People came to hear whatever I was going to play that was new,” Ye testified. “Often people buy merch before they even hear the music.”

Dr. Raymond Coffer, former manager of Smashing Pumpkins, Cocteau Twins and The Sundays, has died following a short illness, a representative confirmed. He was 70 years old.

Coffer was a notable manager who worked with some of the biggest names in U.K. rock and worked with Smashing Pumpkins during the 1990s. 

After starting his career in his family’s soccer souvenir business, Coffer trained as a chartered accountant and subsequently met U.K. band Love and Rockets, eventually becoming their manager. He guided the Northampton-formed group to a placement on Billboard’s Hot 100, charting at No. 3 with “So Alive” in 1989.

Coffer, known for his flamboyant sense of style, went onto manage a number of beloved U.K. indie rock bands including Cocteau Twins, The Sundays, Curve and Ian McCulloch of Echo & The Bunnymen. 

Coffer began working with the Smashing Pumpkins in 1990 ahead of their debut album Gish, which released the following year. The band went on to become one of the best-selling rock bands of the decade, and hit No. 1 on the Billboard 200 charts with Mellon Collie and the Infinite Sadness in 1995.

During this time he also partnered with and provided mentorship for Andy Gershon, founder of Outpost Recordings and former boss of V2 Records, and Darren Michaelson, a music-rights fund manager and a board member of the PRS Fund.

He was also a founding board member of the Music Managers Forum alongside Ed Bicknell (Dire Straits) and Elliott Rashman (Simply Red) in 1992, serving until 1996. Coffer retired from the music industry in 2011 and earned a PhD from the University of London in Germanic and Romance Studies. He also founded the free-to-all Bushey Park Performing Arts Festival in north London.

Martin Mills, Beggars Group chairman said, “I am saddened to hear of Raymond’s passing. He played an extremely important role in the Beggars story and we had a lot of fun together over the years. Not only did he manage two of the most important bands in our early years in Love and Rockets and Cocteau Twins, he also managed two lesser known acts that we loved – Xymox and Swell. I shall miss his charismatic personality and passion for the artists he represented.”

Merck Mecuriadis, founder of Hipgnosis and MMF Custodian, said “Raymond was a lovely man and a manager that made a difference to his artists. May he rest in peace.”

Coffer died on April 30, and is survived by his wife Roberta, son Nick and his grandchildren.

SYDNEY, Australia — RAGEFLOWER is ready to bloom, through a new management deal with Weird Fishes.

Spearheaded by songwriter and musician Madeleine Powers, RAGEFLOWER made ripples in the domestic music industry last year with its debut EP INFINITE HIGHS, END OF TIMES and impressive performances at BIGSOUND 2025, plus the release of the singles “Desk Job” and “Control,” both of which have enjoyed high-rotation on triple j.

Key Spotify playlists have added RAGEFLOWER, from New Music Friday AU/NZ, to Pop n Fresh, Hits Different, Glow, Fresh Finds AU and Tapestry, in addition to several Apple Music playlists. Also, support slots have opened up with The Temper Trap and The Darkness.

Classically trained at the Sydney Conservatorium of Music, Powers changed tac and found creative freedom in distortion pedals, vulnerable lyrics, and shimmering synths. It’s channeled into an indie rock/pop act that is “without doubt the most exciting new artist we have seen in the last few years,” comments Weird Fishes co-founder Aidan McLaren.

“The creativity, the songwriting, the captivating live show, the connection, it’s all there,” McLaren continues. “What Maddy is creating is something really unique, very special and strikingly authentic. We couldn’t be more pleased than to be joining the team to help bring the RAGEFLOWER world to life, and to bring it to people around the globe.”

“There’s a magnetic intensity to RAGEFLOWER that you just don’t see every day,” adds Weird Fishes’ Alanna Vullo. “She isn’t afraid to push boundaries or bare her soul, and the result is art that genuinely moves people and leaves a lasting mark. We are absolutely thrilled to step in as her management team and back such a fiercely creative talent”. Vullo, who joined the company late last year, assists McLaren on day-to-day management.

It’s all falling into place for RAGEFLOWER, which recently signed to Select Music (Rob Giovannoni) for Australian live bookings, and caught the eyes and ears of Paul Wilson and Nikos Kazoleas at CAA, who represent for U.K./European live bookings; Paul Wilson books Sam Fender, Lianne La Havas, Tracey Chapman, Dermot Kennedy, while Kazoleas served with as a music agent at UTA for more than a decades, and has worked with the likes of Sombr, GAYLE, Rebecca Black, Trixie Mattel, BANKS, Joshua Bassett, and others.

At Weird Fishes, which opened for business just nine months ago, RAGEFLOWER joins a roster that includes Boy & Bear, Tim Hart, The Dreggs, Steph Strings and Pete Murray. The team, led by McLaren, Joe Miles and Rhett McLaren, was nominated for manager of the year at the 2026 AAM Awards, presented last week in Sydney.

Your favorite performer is coming to a movie cinema near you.  

Bebe Rexha, Paris Hilton, Maren Morris and Kim Petras are among the first wave of artists participating in new, interactive concert experience that will beam the show into hundreds of theaters across the United States.

Arena One, the new live entertainment company, and AMC Theatres, the giant theatrical exhibitor, join forces for Arena One at AMC, a real-time, interactive concert format that will be pumped into 300 AMC locations in 89 markets from June.

The concerts are an upgrade from the cinecast experience that found traction with some a-list artists and their fans in the late 2000s, when a slew of live concerts and exclusive events were fed into participating cinemas.

Through this new concept, announced this week, the artist will perform on Arena One’s purpose-built stage, while “seeing and responding to fans at AMC locations through innovative interactive technology,” reads a statement from organizers.

The advantages are obvious. For the artist, the initiative enables them to reach more fans, in more places, without hitting the road. And for those fans who can’t physical get to see their hero, due to cost, distance or other reasons, they now have a virtual front-row seat.

“The next chapter of live shows isn’t about proximity to big venues, it’s about creating visceral, intimate, affordable live connection between artists and fans no matter where they are,” explains Rohit Kapoor, founder and chief creative officer of Arena One. “Arena One gives artists a new cinema-native canvas to create live performances, while amplifying the raw energy and shared fandom that makes live shows unforgettable.”

First up, Bebe Rexha will perform an Arena One at AMC concert June 17, followed by Paris Hilton (June 18), Kim Petras (June 19) and Maren Morris (June 20).

Ticketholders will soak up an atmosphere that’s “designed to feel immediate and electric, featuring powerful sound, massive screens,” comfortable seats, and more, reads a statement.

“We consider this to be a major announcement,” explains Adam Aron, chairman and CEO of AMC Entertainment, and an “innovative step forward” for the business.

Additional artists and dates will be announced in the coming weeks, with ticket prices varying by market.

“We built a cinematic stage optimized to translate seamlessly to cinemas, but artists are defining what it becomes,” adds Peter Hamilton, CEO of Arena One. “They’re not adapting tours; they’re building something new. That’s when a medium sparks reinvention.”

Showtimes are available on AMCTheatres.com, the AMC Mobile App, and at arenaonelive.com/shows.

Universal Music Group (UMG) is continuing to fight Salt-N-Pepa’s attempt to claw back ownership of the duo’s master recordings, arguing in a new appellate filing that copyright law’s termination right is not absolute.

The world’s largest music company submitted a brief on Tuesday (May 5) urging the Second Circuit Court of Appeals to reject the challenge lodged by Cheryl “Salt” James and Sandra “Pepa” Denton. The rappers sued UMG last year for refusing to revert their iconic late ’80s and early ’90s catalog under the so-called “termination right,” a tenet of the U.S. Copyright Act that allows artists to reclaim ownership of intellectual property decades after signing it away.

A New York federal judge threw out the lawsuit in January, determining that Salt-N-Pepa had no termination rights because they did not actually sign their 1986 record deal. Rather, the contract was between Next Plateau Records, which has since been absorbed by UMG, and the rappers’ producer, Hurby “Luv Bug” Azor.

Salt-N-Pepa have argued on appeal, with support from Irving Azoff’s Music Artists Coalition, that this ruling goes against Congress’ intent in crafting the termination right — that is, to give power back to creators who often lack leverage in early-career negotiations. But in Tuesday’s response, UMG said Salt-N-Pepa cannot explain away the “foundational deficiency” of the duo’s lawsuit with a “single-minded focus on the termination provision’s general intent to benefit authors.”

“While plaintiffs and their amici emphasize the congressional policy to give authors a second chance to capture the value of their creative works through a termination right, they ignore the extent to which the entire termination provision is itself a carefully balanced scheme that also places important limitations on when and how the right may be exercised,” wrote UMG’s lawyers. “[The lower court] correctly found that the present case falls clearly outside the scope of any termination right created by Congress.”

According to UMG, one of these key limitations carved out by Congress was that artists cannot terminate a copyright transfer made by a third party like Azor. That’s exactly what the rappers tried to do here, UMG argued, adding that the New York judge in no way reinvented the wheel by shutting them down.  

“Plaintiffs also criticize the district court for purportedly creating a new standard,” wrote the company’s attorneys. “However, properly understood in the context of the entire opinion, the district court’s analysis of the 1986 agreements reflects nothing more than the modest and obviously necessary requirement that a grant of copyright be made by the actual owner of the rights.”

Salt-N-Pepa’s lawyer did not immediately return a request for comment on UMG’s brief. The rappers will get another chance to rebut these arguments in writing, after which a panel of Second Circuit judges will hear oral arguments before ultimately deciding whether to revive Salt-N-Pepa’s lawsuit.

The Salt-N-Pepa appeal is not the only ongoing legal case in which UMG is staunchly defending the limitations of termination rights. The company is also part of a broader coalition challenging a landmark recent court ruling that expanded termination rights beyond U.S. borders.

UMG, Warner Music Group, Sony Music Entertainment and BMG all came together last month to buy the disputed copyright in that case so they could bring it to the U.S. Supreme Court for reversal. They’ve now begun the process of asking the justices to weigh in, saying the underlying decision goes against decades of industry norms and has “upended” global music dealmaking.