Three is the magic number for Jonas Brothers’ New York fans.

The sibling trio add a third show at Madison Square Garden — home of the NBA champion Knicks — following “overwhelming demand” during the initial presale, reps say.

Kevin, Joe, and Nick Jonas will now play a weekend date at the Garden on Saturday, Aug. 22, in addition to the previously announced shows Aug. 20 and 21.

The MSG dates are all part of the JoBros’ The Burning Up Tour All Over Again, produced by Live Nation.

“The response from our fans this week has been unreal, and we didn’t want anyone to miss out,” the Jonas Brothers remark in a statement. “Adding a third night at The Garden means more of you can relive this with us.”

The timing is sweet. Almost two decades ago, the original Camp Rock premiered just ahead of the brothers’ Burning Up Tour. Now here we are in 2026, with Camp Rock 3 premiering Aug. 13 on Disney Channel before streaming on Disney+ from Aug. 14, just two days before the Jonas Brothers’ induction on Aug. 16 as Disney Legends, one of The Walt Disney Company’s highest honors.

“The original Burning Up Tour was an exhilarating time in our lives,” the bros’ statement continues, “and getting to do it all over again, while celebrating everything that’s happened since, means the world to us. We can’t wait to run it back.”

The first Camp Rock aired on Disney Channel in 2008, propelling the Jonas Brothers and Demi Lovato to global superstardom. A sequel arrived in 2010.

“The movie’s super fun, I’m so excited,” Nick said during a recent stint on The Tonight Show. “Demi’s producing, and me and the brothers have a little cameo in it, which was so bizarre. What a cool thing.”

Tickets for all three nights at the Garden will go on sale from Friday, July 10 at 10am ET at ticketmaster.com. Additional presales run today, July 9.

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Angus & Julia Stone will return to the United States this September for a stretch of intimate tour dates in support of Karaoke Bar, the Australian sibling act’s seventh studio album.

The Stones will perform fan favorites and songs from Karaoke Bar on their jaunt, which includes a three-night stand at Los Angeles’ Masonic Lodge at Hollywood Forever (Sept. 14, 15 and 16), plus intimate headline performances at Music Hall of Williamsburg in Brooklyn and Racket in New York City, and previously-announced festival spots in Canada.

Written and recorded across Greece, France and Australia, Karaoke Bar is due out Sept. 4 via Virgin Music. The new collection is said to be an exploration of music shaped by places and experiences, honed by geography and emotions, and houses the title track and recently-released “Monroe,” a warm and funky observation on love, fragility, and emotional reciprocity.

Angus & Julia Stone have amassed multi-platinum sales, No. 1s and numerous awards in their homeland and enjoyed an international breakthrough with the 2009 song “Big Jet Plane,” from their domestic chart-topping sophomore album Down The Way. The track went on to snag five ARIA Awards, including single of the year; won triple J’s annual Hottest 100 poll, and claimed the APRA Music Award for song of the year.

Rick Rubin produced the group’s third, self-titled studio album, from 2014, which went to No. 1 in Australia and cracked the Billboard 200, peaking at No. 54. At the time, the uber-producer described the artists as “truly unique musicians. They are authentic and pure people who do things from the heart. I’ve never worked with anyone like them before.”

Tickets for the U.S. tour go on sale Friday, July 10 at 10:00am local time at angusandjuliastone.com. Check out the dates below.

Angus & Julia Stone North American Tour Dates:

Sept. 11 — FONO Festival, Quebec City, QC

Sept. 14 — Masonic Lodge at Hollywood Forever, Los Angeles, CA

Sept. 15 — Masonic Lodge at Hollywood Forever, Los Angeles, CA

Sept. 16 — Masonic Lodge at Hollywood Forever, Los Angeles, CA

Sept. 19 — CityFolk Festival, Ottawa, ON

Sept. 22 — Music Hall of Williamsburg, Brooklyn, NY

Sept. 23 — Racket, New York, NY

As we hit what would have been Bon Scott’s 80th birthday on Thursday, July 9, one has to wonder what the shirtless, gleefully irreverent singer of AC/DC’s “Highway to Hell,” “Rock ‘n’ Roll Damnation” and “Dirty Deeds, Done Dirt Cheap” might be like at that age.

“Is there such a thing as a wild 80-year-old?” his rarely interviewed younger brother Derek Scott asks Billboard via Zoom from Perth, Australia. “I don’t think he would have changed.”

Forty-six years after his death on Feb. 19, 1980, from acute alcohol poisoning in London at the age of 33, Scott’s legacy and influence loom large. Born in Scotland and raised in Western Australia, Scott performed in other bands — most notably the Valentines and Fraternity before joining AC/DC as its second singer, replacing Dave Evans during the fall of 1974. He recorded six studio albums with the group, with his last, 1979’s Highway to Hell, an international breakthrough and AC/DC’s first top 20 Billboard 200 release in the United States.

Even now, on its Power Up world tour — returning to North America on July 11 in Charlotte, N.C. — more than half of the current AC/DC’s set hails from Scott’s era with the band.

“When Bon was asked, ‘Are you AC or DC?’ his answer was, ‘I’m the lightning bolt in the middle,” AC/DC co-founder and guitarist Angus Young says in a special birthday message provided to the Bon Scott Estate. “In my mind he was, and always will be the lightning bolt in the middle. He gifted us with great rock ‘n’ roll lyrics delivered in an impish manner, and was determined to show us all, it is a ‘long way to the top if you wanna rock ‘n’ roll’.”

Judas Priest’s Rob Halford says in his own birthday message that, “Bon had a rare gift — he made people feel alive. His voice carried mischief, grit, humor and honesty…And that authenticity continues to resonate across generations.”

Derek Scott, 77, adds that his brother — who cared for him when he was younger because both of their parents worked — “was totally different to anybody else, even in the band. Those guys (in AC/DC) will say he was always a little bit different. It was his attitude; he knew where he wanted to go, and he did it. I don’t know how he got there. It was a lot of work…Overnight success always takes a lot of years. It was good to see him get the results he finally wanted.”

High Voltage

Scott’s birthday has become an annual rite of celebration during recent years, and this year’s 80th has an even greater sense of occasion.

The Estate, in partnership with Australia’s Sonic Rights Management and New York-based Jacksonic Sound and Vision, is bulking up the Bon Scott YouTube channel with more footage — including Fraternity performances from the Australian Broadcasting Corporation (ABC) program GTK and new birthday wishes from Young, Halford, Def Leppard’s Joe Elliott, Pearl Jam’s Mike McCready, Anthrax’s Scott Ian and others.

Meanwhile, the third annual Bon Scott Birthday Bash concert is taking place July 9 at the Cutting Room in New York City, with guest vocalists including Living Colour’s Corey Glover, American Idol finalist Constantine Maroulis, Trixter’s Steve Brown, Peter Shaw of Trans-Siberian Orchestra and others. On the same day the elite German microphone manufacturer Neumann will release a Bon Scott Edition of the mic Scott used while recording at Albert Studios in Sydney, marking the first time the company has branded one of its products.

Scotland’s annual Bonfest took place during early May in Scott’s early home of Kirriemuir and has already announced its 2027 return next April 30-May 2. And on July 16 the Rock And Roll Hall of Fame and Museum will honor Scott during an AC/DC Fan Day that includes artifact displays, film screenings and archival footage, educational presentations and a trivia contest.

“The amount of interest that remains with Bon after all this time, it’s staggering,” says Jacksonic founder John Jackson, who previously worked with AC/DC’s catalog during his tenure with Sony’s Legacy Recordings. “You reach out to any of these companies and they just immediately want to get on board with doing something with his name and likeness.”

Problem Child

The Scott estate wasn’t always quite so dialed-in, however.

He died without a will, and while appropriate financial arrangements were made after his death, other matters were left unattended according to Sonic Rights’ Damian Rinaldi, who co-manages the estate with Jackson and the Scott family. “He was such an icon, and yet there was no business structure around his rights, which was amazing to me,” Rinaldi explains. “The estate was not in order up until 2020. That’s when I started talking to the family and said I really do feel like they need someone who understands the industry and can help navigate it.” The Scotts were ultimately motivated by “bad actors,” including one company that was posing as the official Scott estate and releasing recordings it claimed featured Scott singing on them.

“The family could either get upset about the fact people they didn’t know were ripping off the estate, or they could actually do something about it and help the fans at the same time,” says Rinaldi, who worked with AC/DC during the ‘70s at the Australian music company J. Albert & Son (now Alberts). “We were starting from scratch — what it is you’re trying to identify, the rights and where they sit, who owns the pre-AC/DC copyrights. It’s come a long way.”

Derek Scott notes that, “I think as a family we didn’t want to exploit (Bon) in any way. We didn’t want to be the ones hanging off his coattails all the time…plus, we never had the knowledge of how to go about it for 40-odd years. We didn’t have a clue.” A catalyst, he adds, came when his son Daniel moved back to Perth after living in London and Brazil. (A younger brother, Graham, resides in Asia but has just tacit involvement with the estate.) “My two older sons weren’t as interested in getting involved, but (Daniel) had a big interest in it, and it was good,” Derek says. “If he hadn’t come back the way he did, it wouldn’t have happened.”

One of the estate’s earliest endeavors was the first authorized documentary, On the Brink, that aired during 2022 as part of ABC’s Australian Stories series. The estate has also partnered with a variety of manufacturers, including Knucklebonz, Funko Pop and Super 7 for figures and statues, and Copa and Dixxon for apparel. Australian artist Reg Mombassa, meanwhile, has created a special Scott image for a variety of products, and it’s also the source for a mural painted by artist Era at the beginning of AC/DC Lane in Melbourne. Separately, the Perth Mint has pressed commemorative gold and silver bars featuring the Bon Scott logo and bespoke packaging.

“People think we’re motivated by money and things like that. Nothing can be further from the truth,” says Daniel Scott, who serves as one of the estate’s officers. “Obviously the relationships evolved over time with Damian, who could drag us kicking and screaming into modern times, and then John with the creative side of things. I guess you’d say that after a long period of nothing from the estate, everything is aligned, which is great.”

Hell Ain’t A Bad Place To Be

All of the parties acknowledge a warm and supportive relationship with the AC/DC camp. “Everything we do gets run by Angus and the AC/DC brain trust. That’s a very important relationship,” Jackson says. Daniel Scott adds that, “Angus and Malcolm (Young), when he was alive, have always been extremely welcoming and fantastic over the years, and we have a communication and let them know what they’re up to.” The estate principals add that deference is why we’re unlikely to see a Bon Scott biopic come before a similar project from AC/DC.

“AC/DC very much take the view that they’re still ongoing, and biopics are probably for those who are looking back after they finished,” Rinaldi notes, to which Daniel Scott adds, “If AC/DC’s plans aren’t to do sorting such as that, neither are ours. We’re quite happy with how we’re going at the moment.”

The warm feelings extend to Brian Johnson, who replaced Bon Scott in 1980. “Brian’s fantastic,” Derek Scott says. “He’s jovial and fits in. It was very fortunate to have him come on board. He’s done a fantastic job. We’ve always got a lot of time for him.”

Rinaldi, meanwhile, observes that, “The story of Bon wouldn’t be the same if it wasn’t for Brian. Bon took the band up to the point of being huge and we lost him, and then Brian was able to take the baton and take it further. If it wasn’t for Brian we might not still be remembering Bon in the way we do today — and if it wasn’t for Bon, Brian wouldn’t have had the opportunity to do what he did. There’s massive mutual respect, which is something we foster. We love people loving Bon, but we love Brian as well.”

As the 80th birthday celebration gets underway, Derek Scott says he still has “mixed” emotions of pride in his brother’s accomplishments and sadness that he’s not around. Ultimately, he says, “it’s still great. It’s always good to hear his music and the old songs. Of course they bring back memories, but things move on. He wasn’t good at sports or school. He put his whole heart into the music and…here we are with it, still listening today.”

It’s definitely not the end of the road for Boyz II Men, as the R&B legends announce another tour of Australia and New Zealand.

The vocal group, the preeminent R&B act of its era, leads a package of U.S. ‘90s heavyweights including Rock Hall-inducted rap act Salt-N-Pepa and, for the first time in Australia, hip-hop pioneers Bell Biv DeVoe.

As it stands, the nostalgia trip will visit six arenas and outdoor sites, kicking off Nov. 26 at Perth’s RAC Arena and wrapping Dec. 6 at Sirromet Wines at Queensland’s Mount Cotton, part of the a day on the green concerts brand.

With more than 64 million albums sold, plus four Grammy Awards, nine American Music Awards, nine Soul Train Awards, three Billboard Music Awards, a star on the Hollywood Walk of Fame, Boyz II Men are one of the most successful R&B acts of them all. Now featuring a lineup of Nathan Morris, Wanya Morris and Shawn Stockman, Boyz II Men enjoyed five No. 1s on the Billboard Hot 100, including a 16-week reign for “One Sweet Day,” their 1995 collaboration with Mariah Carey; a 14-week run at the top for 1994’s “I’ll Make Love To You,” and 13 weeks of chart domination for 1992’s “End of the Road.”

With a slew of hits including “Push It,” “Shoop,” “Whatta Man” (with En Vogue) and “Let’s Talk About Sex,” Salt-N-Pepa are game-changers and history-makers, several times over. Cheryl “Salt” James, Sandra “Pepa” Denton and DJ Spinderella made history in 1995 as the first female rap act to win a Grammy Award, before earning the Grammy Lifetime Achievement Award in 2021, a star on the Hollywood Walk of Fame, and last year received the Rock And Roll Hall of Fame’s musical influence award.

Bell Biv DeVoe (Ricky Bell, Michael Bivins and Ronnie DeVoe) made a bold influence on their scene, too. The trio’s 1990 debut album Poison peaked at No. 5 on the Billboard 200 and was at the forefront of the new jack swing movement, which combined elements of traditional soul and R&B with hip-hop. The album housed a string of hits, including “Poison” and “Do Me!” which both reached No. 3 on the Billboard Hot 100.

MG Live, Frontier Touring and Arena Touring are producing the Australasian run, tickets for which go on sale Friday, July 17 at 11.00am local time with a day on the green, MG Live and Frontier Member presales beginning Wednesday, July 15 at 12.00pm local time.

All ticketing and tour information can be seen at mg.live.

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Boyz II Men’s 2026 Australian And New Zealand Tour With Special Guests Salt-N-Pepa And Bell Biv Devoe:

Thursday, Nov. 26 — RAC Arena, Perth

Tuesday, Dec. 1 — Spark Arena, Auckland

Friday, Dec 4 — TikTok Entertainment Centre, Sydney

Saturday, Nov. 28 — Mount Duneed Estate, Geelong

Saturday, Dec. 5 — Bimbadgen, Hunter Valley

Sunday, Dec. 6 — Sirromet Wines, Mount Cotton

Benson Boone will backflip into Australia later this year for an east coast arena jaunt.

The chart-topping U.S. pop artist brings his Wanted Man run to these parts in November 2026, for nine total concerts spread across Brisbane Entertainment Centre, Melbourne’s Rod Laver Arena and Sydney’s Afterpay Arena (formerly Qudos Bank Arena).

But first, the Grammy-nominated singer will complete the U.S. leg of his tour, a 35-date trek that got underway Tuesday, July 7 at PPG Paints Arena in Pittsburgh, Pennsylvania, and wraps up Sept. 3 at Wyoming Center in Casper, WY. Along the way, he’ll play multiple nights at Brooklyn’s Barclays Center and Los Angeles’ Crypto.com Arena, and he’s booked to perform at the iHeartRadio Music Festival in Las Vegas, presented Sept. 18-19.

Frontier Touring is producing the Australia trek, his first here since Boone completed six sold-out shows across a mix of arenas, outdoor spaces and theaters in January 2025.

Aussie audiences have a soft spot for Boone. His sophomore album, American Heart, opened at No. 1 on the ARIA Chart following its release in June 2025. That easily surpassed the No. 17 peak of his debut full-length effort, Fireworks & Rollerblades, which housed the smash “Beautiful Things,” the leader on ARIA’s year-end singles chart for 2024. “Beautiful Things” would also win the IFPI Global Single Award for 2024, effectively the world’s best-performing single across all digital formats, and its official music video recently entered YouTube’s Billion Views Club.

Boone kick-started the next phase of his career with the release last month of “The Time of My Life” (via Warner Records), penned with his go-to collaborators Jack LaFrantz and producer Jason Evigan.

Register for his forthcoming Australia tour at frontiertouring.com/bensonboone.

Benson Boone’s 2026 Wanted Man Australia Tour Dates:

Friday, Nov. 6 November — Brisbane Entertainment Centre

Saturday, Nov. 7 — Brisbane Entertainment Centre

Sunday, Nov. 8 — Brisbane Entertainment Centre

Thursday, Nov. 12 — Rod Laver Arena, Melbourne 

Friday, Nov. 13 — Rod Laver Arena, Melbourne

Saturday, Nov. 14 — Rod Laver Arena, Melbourne

Tuesday, Nov. 17 — Afterpay Arena, Sydney (*formerly known as Qudos Bank Arena)

Wednesday, Nov. 18 — Afterpay Arena*, Sydney

Thursday, Nov. 19 — Afterpay Arena*, Sydney

Eslabon Armado scores its eighth straight top 10 on Billboard’s Top Latin Albums chart with its ninth studio album, NOCTURNO, as the album bows at No. 8 on the July 11-dated list. The set also arrives at No. 5 on Top Regional Mexican Albums chart.

Fueled largely by streaming, NOCTURNO debuts in the top 10 on both tallies after earning 9,000 equivalent album units in the United States in the tracking week ending July 2; the album’s 16 songs drew 9.4 million official on-demand streams in its opening week, per Luminate.

As Eslabon Armado returns to the top 10 on Top Latin Albums, it becomes the first regional Mexican group to debut in the chart’s upper region in 2026 — and the first in more than a year, since Fuerza Regida’s 111XPANTÍA in May 2025. Five other regional Mexican acts have debuted in the top 10 on Top Latin Albums this year, all soloists; Tito Double P accounts for two of those entries, with the Peso Pluma collab, DINASTÍA (No. 1 in January) and ACOMODO (No. 3 in June).

Eslabon Armado adds its eighth consecutive top 10 start on both Top Latin Albums and Regional Mexican Albums. Among those, Corta Venas remains the longest-leading No. 1 album by a group in the history of the Top Regional Mexican Albums chart, which launched in 1994. Overall, the album still holds the third longest command, after Selena’s Amor Prohibido (97 weeks atop) and Christian Nodal’s Me Dejé Llevar (73 weeks at the summit).

Consisting of 16 songs, NOCTURNO features guest appearances by Peso Pluma, Calle 24, Tombochio, Clave Especial, Gabito Ballesteros, Jorsshh and ERRE. Leading the album’s chart action, “Amigos Con Derechos,” with Peso Pluma, opens at No. 7 on Hot Latin Songs, largely powered by 2.5 million streams during the tracking week —enough for a No. 14 start on Latin Streaming Songs.

The song returns Eslabon to the top 10 on Hot Latin Song for the first time since “La Durango,” its Peso Pluma and Junior H team-up, peaking at No. 2 in 2024.

Elsewhere, “Amigos Con Derechos” proves its pull beyond its Hot Latin Songs success, giving Eslabon its first entrance on the Hot Regional Mexican Songs chart, where it starts at No. 2 thanks to its streaming activity.

Brian Potter, a Grammy-nominated producer and songwriter best known for co-producing Glen Campbell’s 1975 Rhinestone Cowboy album, died June 30 in Granada Hills, Calif., following years living with vascular dementia and Alzheimer’s, according to his daughter. He was 87.

Potter, who was born in Essex, England, played in bands as a teen and even toured across the U.K. and Europe briefly as the drummer for Chuck Berry, scored his first hit in 1965 as a songwriter on the Small Faces’ debut single “Whatcha Gonna Do About It,” written with Ian Samwell. The song reached No. 14 on the U.K. Official Singles Chart.

Shortly thereafter, Potter met Dennis Lambert, a singer/songwriter in the U.S. Army stationed in Europe, and the pair became songwriting partners, leading to Potter moving to the U.S.

Together, the pair landed numerous hits starting with 1969’s anti-war song “One Tin Soldier,” which was first recorded by The Original Caste. A 1971 version by Coven became the theme to the movie Billy Jack, and Skeeter Davis’ rendition received a Grammy nomination for best female country vocal performance.

Several hits penned by Potter and Lambert followed, including writing and producing a number of albums for the Four Tops following the R&B group’s departure from Motown, that included such hits as “Keeper of the Castle” and “Ain’t No Woman (Like the One I Got),” from the Lambert/Potter-produced album 1972’s Keeper of the Castle (with collaborator Steve Barri).

The pair landed their own imprint, Haven Records, at Capitol Records, and in the mid-’70s began working with Campbell on the 1975 Rhinestone Cowboy concept album about an aging country musician. The title track, written by Larry Weiss, earned Potter and his collaborators a Grammy nomination for producer of the year, and won him an Academy of Country Music Award as well as American Music Award.

Other 1970s’ Billboard Hot 100 hits penned by the duo included Hamilton, Joe Frank & Reynold’s “Don’t Pull Your Love” (No. 4), the Grass Roots’ Two Divided By Love” (No. 16), The Righteous Brothers’ “Dream On” (No. 32) and Tavares’ “It Only Takes a Minute” (No. 10). As producers, they also continued to score hits, including Player’s No. 1 tune, “Baby Come Back.”   

After writing Score, a musical about Harlem Globetrotters founder Abe Saperstein, Lambert and Potter amicably split and Potter, with composer Wayne Green, wrote two musicals through SGI-USA, the Buddhist organization both men belonged to: This is America: A Musical Revue (1988) and This is America: The New World (1989), both of which toured more than 10 cities across the country.

Then, through Landmark Entertainment Group, the pair wrote more than 20 songs for Japanese theme park Puroland, while also writing and producing two children’s music albums for Here We Go, Kids. Continuing working with theme parks, Potter consulted with Universal Studios Hollywood in the early ‘90s on projects including Beetlejuice’s Rockin’ Graveyard Revue and The Blues Brothers Show.

In 2025, Lambert and Potter were nominated for induction into the Songwriters Hall of Fame in the non-performing songwriters category.

Survivors include Potter’s wife of 55 years, Karen; daughter Courtney and stepdaughter Mary Shirley; two brothers; and a number of other relatives. Donations in his memory can be made to the Alzheimer’s Association or the Motion Picture & Television Fund. A celebration of life will be held in the fall.

Leigh-Anne Pinnock is about to enter her era as a mother of three.

The Little Mix member and solo artist made the announcement about this new chapter with her husband, professional soccer player Andre Gray. On her social media, Pinnock shared the heartfelt news with an emotional video. 

In the clip, the singer appears in a recording studio, reading the lyrics from her phone as she records and sings into the mic. Shots from different angles of her body appear before she’s seen walking toward the mic, then turning around to reveal her baby bump. Meanwhile, her new song “Heaven” plays in the background. “As one chapter ends, another begins,” the artist captioned the post, adding a heart and a pregnant woman emoji.

Pinnock and Gray, who were married in a beachfront ceremony in Jamaica in 2023, have two other children, twin daughters born in 2021.

Fellow members of Little Mix expressed their happiness on the post with Perrie Edwards commenting with heart-eyes emojis and Jade Thirlwall sharing a message celebrating the news of Pinnock’s growing family. 

The news arrives at a major moment for Pinnock’s music career. She released her debut solo album My Ego Told Me To in February, and she announced a U.K. and European tour to promote the project.  

Little Mix, which was formed in 2011 on The X Factor in the U.K., earned various Billboard chart entries, including three of the girl group’s albums, DNA, Salute and Glory Days, reaching the Billboard 200. In 2021, their single “Confetti” became their final song before they announced a hiatus.

The members of rock band Lit have reached a settlement to end an $800,000 lawsuit against Sony Music over streaming royalties for their ’90s catalog.

A Tuesday (July 7) court filing, first obtained and reported by Billboard, says Sony has agreed on a “settlement in principle” with Lit frontman A. Jay Popoff, guitarist Jeremy Popoff, bassist Kevin Baldes and the estate of late drummer Allen Shellenberger. The band is best known for the hit 1999 single “My Own Worst Enemy,” which spent 11 weeks at No. 1 on Billboard’s Alternative Airplay chart and has more than 500 million streams on Spotify.

A written settlement agreement is currently in the process of being finalized. The terms of the deal have not been disclosed, and reps for Lit and Sony did not immediately return requests for comment on the resolution.

The members of Lit sued Sony in March, seeking a greater share of their streaming royalties. The major music company, whose subsidiary RCA Records signed Lit in 1998, had up until then been paying the musicians a basic 14% U.S. recorded royalty rate for plays on Spotify and other digital streamers.

However, Lit argued it was entitled to more because of a clause in the band’s 1998 record deal with RCA that allocates the band 50% of net proceeds from master use licenses of its music. In a parenthetical, the contract says an example of this would be “RCA’s license to another person of the right to embody a master recording on a website in a so-called ‘streaming’ format, which is not subject to the ‘digital download’ of that master recording by a viewer.”

It’s not clear how this clause made it into Lit’s record deal, since music streaming was still in its most nascent stage in 1998; MP3s were only invented in 1993, and the first mainstream streaming platforms like PressPlay and Rhapsody didn’t launch until the early 2000s. Even Napster, which hosted music downloading rather than streaming, didn’t arrive until 1999.

Lit’s members claimed that this anomalous contract language entitled them to $800,000 in allegedly underpaid streaming royalties. According to the lawsuit, the band tried to negotiate a more favorable split before going to court, but Sony offered “a half-hearted defense” of the traditional royalty rate and then stopped responding entirely.

In May, a lawyer for Sony said in a court filing that the band “commenced settlement discussions” after the lawsuit was filed. A judge closed the case following notification of the deal on Tuesday.