DJ AG took over Billboard’s THE STAGE at SXSW London on Wednesday (June 3) bringing his eclectic taste to the U.K. festival.

The London-based performer was accompanied by a number of musicians artists during his set which spanned genres across garage, hip-hop, r&b, pop and beyond.

AG (real name: Ashley Gordon) has found an ardent following in recent years for his guerilla DJ sets and big name guests. Over the years, Will Smith, Akon, AJ Tracey, Skepta, Ciara and more have appeared during his live sets which are regularly streamed live on AG’s growing social channels.

Hosted in Ely’s Yard in Shoreditch, east London, AG hosted a number of rising artists throughout the showcase. U.S. artist Cameron McCloud, who recently won NPR’s Tiny Desk Contest as a member for Cure for Paranoia, pulled up for a cameo, alongside head-turning performances from Australian act Tikara and London-based Iyamah. 

U.S. group Infinity Song joined AG for a short spot ahead of their showcase event at the nearby Shoreditch Town Hall venue as part of the Mahogany Showcase. House Gospel Choir, who performed with Harry Styles at the 2026 BRIT Awards and his One Night Only show in Manchester, also made an appearance with an uplifting guest spot.

SXSW London is currently in the midst of its second edition, bringing together leading voices in music, film, culture, technology and business for a wide-ranging program of panels, performances and screenings.

THE STAGE is a fixture of SXSW in Austin, Texas, with 2026’s lineup including Billboard 200 chart-topper Don Toliver, Mau P and Junior H. At the inaugural 2025 SXSW London, Tems performed a sold-out show at London’s Troxy as part of THE STAGE.

Elsewhere performances at SXSW London 2026 include Rachel Chinouriri, Tiwa Savage, Shame, ODUMODUBLVCK and more. 

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.

“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.

Violet Grohl really is a chip off the old block. The newcomer with the famous surname made her TV debut Wednesday night (June 3) when she stopped by The Tonight Show Starring Jimmy Fallon with a full band.

Want rock? You’ve got it.

Looking cool, calm and dressed right for her late-night premiere in all-black, Grohl performed “Bug in the Cake,” lifted from the grungy rocker’s recently released debut studio album.

It’s been a bright couple months for Violet, who made her official Billboard chart arrival earlier this year as a teenager (aged 19), when “THUM” started at No. 38 on Adult Alternative Airplay. “THUM” marked her first appearance on a Billboard chart as a billed artist, though she did contribute backing vocals to Foo Fighters’ “Show Me How,” which hit No. 21 on Hot Hard Rock Songs in 2023.

Now aged 20, she’s just dropped the 11-track Be Sweet to Me, through Auroura Records/Republic Records, a record that also includes the previously-released “Applefish” and “595.”

Grohl is, of course, the oldest daughter of Dave Grohl, the singer, songwriter and force-of-nature rock star who has been inducted into the Rock And Roll Hall of Fame both with Nirvana (2014) and with Foo Fighters (2021).

According to a release, Be Sweet to Me was recorded from late 2024 into early 2025 at producer Justin Raisen’s Los Angeles home studio with a group of musicians assembled “in the spirit of the Wrecking Crew session players in the ’60s and ’70s,” whose work can be heard on classic recordings by the likes of Sonny & Cher, the Mamas and the Papas, Frank Sinatra and Harry Nilsson, among many others.

“Everything was written in the studio,” Grohl says of her new collection. “I would come in with an inspiration playlist, we would hang and listen for a little while, and then start writing.”

She’s supporting the project with a trans-Atlantic tour, which continues tonight (June 4) with a sold-out performance at New York’s Baby’s All Right.

Watch Violet Grohl’s performance on NBC’s Fallon.

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.”

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.  

Weezer is in their golden era.

Ahead of a North American tour this fall, the band announced Wednesday (June 3) their latest Weezer album, aka The Gold Album. The project — the seventh in their color-coded series of self-titled albums — comes out Aug. 21, marking the 16th studio album since they dropped their debut Weezer (Blue Album) in 1994.

With a 10-song track list, the project includes the just-released song “We Might as Well Be Strangers” (featuring Wednesday) — a duet between Weezer frontman Rivers Cuomo and Wednesday’s Karly Hartzman — as well as lead single “Shine Again,” which arrived in April. Produced by Klas Åhlund and Kenneth Blume, formerly known as Kenny Beats, the project is meant to be “the most violent Weezer album ever,” according to a press release. With songs written by three of the band’s four members, for the first time since their first album, original members Cuomo and drummer Pat Wilson co-wrote a song together.

Between their Blue Album debut in 1994 and August’s Gold Album, Weezer has released five other colorful self-titleds: The Green Album (2001), The Red Album (2008), The White Album (2016), The Teal Album (2018) and The Black Album (2019). The Gold Album will mark the band’s first full-length since 2021’s Van Weezer.

Earlier this year, the band announced Weezer: The Gathering tour kicking off in September with 32 stops across North America with support from The Shins and Silversun Pickups. Weezer also has one festival date in Halifax, Nova Scotia, later this month, on June 27.

See the track list for Weezer (The Gold Album) below:

Say Yes
Shine Again
Don’t Make It Weird
We Might as Well Be Strangers feat. Wednesday
C.E.O.
Hoops
Nowhere
The Show Must Go On
Up in the Clouds
The LA Sound