Morgan Wallen returns to No. 1 on the ARIA Albums Chart this week with his sprawling 37-track effort I’m the Problem, marking his second Australian chart-topper following One Thing at a Time, which spent two weeks at No. 1 in 2023.

I’m the Problem is Wallen’s fourth studio album and his strongest-performing to date Down Under. The country megastar previously peaked at No. 2 with Dangerous: The Double Album and hit No. 53 with his 2018 debut If I Know Me. The album’s title track also rebounds on the ARIA Singles Chart this week, leaping from No. 65 to No. 34.

Meanwhile, new cut “What I Want,” featuring Canadian pop star Tate McRae, debuts at No. 17 on the Singles Chart and cracks the Top 5 on the New Music Chart.

Sydney pop-punk trio Stand Atlantic also make a splash this week, with their 2024 album Was Here roaring back to No. 3 on the Albums Chart following the release of its deluxe edition. It’s the highest-charting Australian artist release this week, leading the Top 5 Australian Artist Albums chart ahead of Spacey Jane’s If That Makes Sense and Cold Chisel’s 50 Years – The Best Of.

Elsewhere, Hozier’s self-titled debut celebrates its 10th anniversary with a jump from No. 27 to No. 10, while the 40th anniversary edition of Dire Straits’ Brothers in Arms debuts at No. 33.

The legendary LP spent 34 weeks at No. 1 in the mid-‘80s — second only to The Sound of Music soundtrack’s historic 76-week reign.

On the ARIA Singles Chart, Alex Warren’s “Ordinary” holds firm at No. 1 for a ninth straight week, becoming the longest-running chart-topper by a solo male artist since The Weeknd’s “Blinding Lights” ruled for 11 weeks in 2020.

Rising star Sombr continues his momentum with “Undressed” and “Back to Friends” sitting at No. 2 and No. 3, respectively.

Morgan Wallen returns to No. 1 on the ARIA Albums Chart this week with his sprawling 37-track effort I’m the Problem, marking his second Australian chart-topper following One Thing at a Time, which spent two weeks at No. 1 in 2023.

I’m the Problem is Wallen’s fourth studio album and his strongest-performing to date Down Under. The country megastar previously peaked at No. 2 with Dangerous: The Double Album and hit No. 53 with his 2018 debut If I Know Me. The album’s title track also rebounds on the ARIA Singles Chart this week, leaping from No. 65 to No. 34.

Meanwhile, new cut “What I Want,” featuring Canadian pop star Tate McRae, debuts at No. 17 on the Singles Chart and cracks the Top 5 on the New Music Chart.

Sydney pop-punk trio Stand Atlantic also make a splash this week, with their 2024 album Was Here roaring back to No. 3 on the Albums Chart following the release of its deluxe edition. It’s the highest-charting Australian artist release this week, leading the Top 5 Australian Artist Albums chart ahead of Spacey Jane’s If That Makes Sense and Cold Chisel’s 50 Years – The Best Of.

Elsewhere, Hozier’s self-titled debut celebrates its 10th anniversary with a jump from No. 27 to No. 10, while the 40th anniversary edition of Dire Straits’ Brothers in Arms debuts at No. 33.

The legendary LP spent 34 weeks at No. 1 in the mid-‘80s — second only to The Sound of Music soundtrack’s historic 76-week reign.

On the ARIA Singles Chart, Alex Warren’s “Ordinary” holds firm at No. 1 for a ninth straight week, becoming the longest-running chart-topper by a solo male artist since The Weeknd’s “Blinding Lights” ruled for 11 weeks in 2020.

Rising star Sombr continues his momentum with “Undressed” and “Back to Friends” sitting at No. 2 and No. 3, respectively.

Miley Cyrus brought raw vulnerability to Jimmy Kimmel Live! on Thursday (May 22), performing her latest single “More to Lose” in a striking, emotionally-charged moment on the late-night stage.

Wearing a dark hooded coat and surrounded by a live band and string ensemble, the Grammy winner delivered a stirring rendition of the song beneath dramatic spotlights, echoing the somber, cinematic visuals from the track’s music video released earlier this month.

“On a song like ‘More to Lose,’ I try to keep it a singular take,” Cyrus previously explained in a video shared to Instagram. “I add my harmonies, ad-libs at the end, but it’s really a song that’s more of a story and I never want that to be interrupted or overthought or chasing perfection.”

“I never wanted More to Lose to feel perfect, I wanted it to sound meaningful and emotional,” she added.

The performance arrives just one week before the release of Something Beautiful, Cyrus’ highly anticipated ninth studio album, due May 30. The record is led by “More to Lose,” April’s “End of the World,” and recent tracks “Prelude” and the album’s title track. It also features collaborations with Naomi Campbell and Brittany Howard.

The pop star is set to debut a visual album companion to Something Beautiful at the Tribeca Film Festival on June 6. Described as “a one-of-a-kind pop opera,” the film is directed by Cyrus with Jacob Bixenman and Brendan Walter.

In a recent interview with Apple Music 1’s Zane Lowe, Cyrus reflected on her journey to self-acceptance and sobriety — and how it shaped this new creative era. “The sobriety is like, that’s like my God. I need it, I live for it,” she said. “It’s changed my entire life.” Her 2023 smash “Flowers,” which earned her her first-ever Grammys, served as the breakthrough. “It was some sort of key right into the lock of all healing,” she added.

With Something Beautiful, Cyrus continues that journey — and if “More to Lose” is any indication, she’s not shying away from the parts that hurt.

Rob Thomas is making his return Down Under. The Matchbox Twenty frontman will head to Australia and New Zealand this October and November for a headline solo tour in celebration of his forthcoming album All Night Days and the 20th anniversary of his 2005 debut solo album …Something to Be.

The tour will kick off with back-to-back shows at Perth’s Riverside Theatre on Oct. 24 and 25, before heading to Adelaide, where Thomas will perform at the AEC Theatre on Oct. 27.

He’ll then make his way east for a two-night stint at Melbourne’s The Forum on Oct. 29 and 30, followed by a pair of shows at Sydney’s Enmore Theatre on Nov. 3 and 4. A massive outdoor performance at Sandstone Point in Brisbane is slated for Nov. 8.

After wrapping his Australian dates, the GRAMMY-winning singer-songwriter will cross the Tasman Sea for three shows in New Zealand: Auckland’s Kiri Te Kanawa Theatre on Nov. 11, Christchurch’s Town Hall on Nov. 13, and the Michael Fowler Centre in Wellington on Nov. 15.

“Aussie fans have always been incredible to me,” Thomas said in a statement. “I can’t wait to come back and share these songs—old and new—on what’s going to be a very special run of shows across one of my favorite places in the world.”

Fans can expect a career-spanning set that includes solo hits like “Lonely No More” and “This Is How a Heart Breaks,” his Santana collaboration “Smooth,” and Matchbox Twenty classics such as “3AM” and “Unwell.” The yet-to-be-released All Night Days will mark Thomas’ sixth solo studio album and his first since 2021’s Chip Tooth Smile.

Joining him across various dates will be a lineup of local talent, including Boy & Bear, Eskimo Joe, Little Quirks and Sara Berki.

Tickets go on sale to the general public at 12 p.m. local time on Thursday, May 29. For full ticketing info, visit frontiertouring.com.

Rob Thomas is making his return Down Under. The Matchbox Twenty frontman will head to Australia and New Zealand this October and November for a headline solo tour in celebration of his forthcoming album All Night Days and the 20th anniversary of his 2005 debut solo album …Something to Be.

The tour will kick off with back-to-back shows at Perth’s Riverside Theatre on Oct. 24 and 25, before heading to Adelaide, where Thomas will perform at the AEC Theatre on Oct. 27.

He’ll then make his way east for a two-night stint at Melbourne’s The Forum on Oct. 29 and 30, followed by a pair of shows at Sydney’s Enmore Theatre on Nov. 3 and 4. A massive outdoor performance at Sandstone Point in Brisbane is slated for Nov. 8.

After wrapping his Australian dates, the GRAMMY-winning singer-songwriter will cross the Tasman Sea for three shows in New Zealand: Auckland’s Kiri Te Kanawa Theatre on Nov. 11, Christchurch’s Town Hall on Nov. 13, and the Michael Fowler Centre in Wellington on Nov. 15.

“Aussie fans have always been incredible to me,” Thomas said in a statement. “I can’t wait to come back and share these songs—old and new—on what’s going to be a very special run of shows across one of my favorite places in the world.”

Fans can expect a career-spanning set that includes solo hits like “Lonely No More” and “This Is How a Heart Breaks,” his Santana collaboration “Smooth,” and Matchbox Twenty classics such as “3AM” and “Unwell.” The yet-to-be-released All Night Days will mark Thomas’ sixth solo studio album and his first since 2021’s Chip Tooth Smile.

Joining him across various dates will be a lineup of local talent, including Boy & Bear, Eskimo Joe, Little Quirks and Sara Berki.

Tickets go on sale to the general public at 12 p.m. local time on Thursday, May 29. For full ticketing info, visit frontiertouring.com.

Joe Jonas released his long-awaited sophomore solo album, Music For People Who Believe in Love, on Friday (May 23) via Republic Records.

Preceded by singles “Work It Out,” “What This Could Be” and “Heart By Heart,” the studio set arrives nearly a decade and a half after the Jonas Brothers heartthrob’s first solo offering with 2011’s Fastlife.

The new LP also features swooning focus track “Honeyblonde” as well as guest assists from a diverse roster of collaborators including DOMi and JD BECK (opener “Woven”), Sierra Ferrell (the country-tinged “Sip Your Wine”), Louane and Tiny Habits (“Hey Beautiful,” dedicated to his two daughters), Luísa Sonza (“What We Are”) and his youngest brother Franklin Jonas (“Velvet Sunshine”).

In between solo projects, Jonas has remained hard at work on other musical endeavors, releasing 2019’s Happiness Begins and 2023’s The Album with Kevin and Nick as well as a self-titled album in 2016 with his other band, the party-ready pop collective DNCE.

Ahead of the release of Music For People Who Believe in Love, Jonas spoke exclusively with Billboard about creating the body of work under his own name and his hopes for how it will touch the lives of his fans.

“It was scary at times, and also freeing,” he said in an August 2024 interview. “I’m not trying to come for anyone on this album. I’m not trying to put stuff on blast. I have a beautiful life that I’m grateful for. I’ve got two beautiful kids. I’m a happy person, and the music needed to resemble that — but also, the journey to get here…At the core of it, if this [album] helps people through what they’re going through, that’s all I can really wish for.”

Stream Jonas’ Music For People Who Believe in Love below.

Joe Jonas released his long-awaited sophomore solo album, Music For People Who Believe in Love, on Friday (May 23) via Republic Records.

Preceded by singles “Work It Out,” “What This Could Be” and “Heart By Heart,” the studio set arrives nearly a decade and a half after the Jonas Brothers heartthrob’s first solo offering with 2011’s Fastlife.

The new LP also features swooning focus track “Honeyblonde” as well as guest assists from a diverse roster of collaborators including DOMi and JD BECK (opener “Woven”), Sierra Ferrell (the country-tinged “Sip Your Wine”), Louane and Tiny Habits (“Hey Beautiful,” dedicated to his two daughters), Luísa Sonza (“What We Are”) and his youngest brother Franklin Jonas (“Velvet Sunshine”).

In between solo projects, Jonas has remained hard at work on other musical endeavors, releasing 2019’s Happiness Begins and 2023’s The Album with Kevin and Nick as well as a self-titled album in 2016 with his other band, the party-ready pop collective DNCE.

Ahead of the release of Music For People Who Believe in Love, Jonas spoke exclusively with Billboard about creating the body of work under his own name and his hopes for how it will touch the lives of his fans.

“It was scary at times, and also freeing,” he said in an August 2024 interview. “I’m not trying to come for anyone on this album. I’m not trying to put stuff on blast. I have a beautiful life that I’m grateful for. I’ve got two beautiful kids. I’m a happy person, and the music needed to resemble that — but also, the journey to get here…At the core of it, if this [album] helps people through what they’re going through, that’s all I can really wish for.”

Stream Jonas’ Music For People Who Believe in Love below.

Trax Records is releasing a hefty compilation project next month as part of the label’s ongoing 40-year-anniversary celebrations.

Out digitally and on vinyl on June 20, Trax Records: The 40th Anniversary Collection features singles and remixes by house pioneers including Frankie Knuckles, Marshall Jefferson, Ron Carroll, Frankie Bones and Joey Beltram, along with work by the label’s late founder Larry Sherman and its longtime owner/president Rachael Cain, who has long made music under the name Screamin Rachael.

The project was curated by the label’s creative director Jorge Cruz, who’s been with Trax since 2009. Cruz will play as part of a release party for the project happening at Chicago’s Reckless Records on June 20. Beyond Cruz’s set focused on the history of Trax, the event will feature sets by Joe Smooth, Ron Carroll, Screamin’ Rachael and more.

The project will also be available for purchase via limited-edition vinyl drops. On June 20, the first batch of songs of the compilation’s 40 total tracks will be released, with subsequent vinyl releases each containing six to seven tracks to maximize sound quality and happening through January 2026. Vinyl will be available at record stores worldwide.

The Trax plant opened in Chicago in 1984, with the label business becoming officially incorporated the following year, amid the dawn of house music, with Trax widely recognized as a crucial early hub for evolution and dissemination of the genre. In its early years, the label released key house tracks, including Frankie Knuckles and Jamie Principle’s “Your Love,” Marshall Jefferson’s “The House Music Anthem (Move Your Body)” and many other genre-defining classics by artists like DJ Pierre, Ron Hardy, Mr. Fingers, Phuture, Maurice Joshua and Screamin’ Rachael.

The label also recently announced the release of its first vinyl release in more than a decade, Rising Again, a six-track compilation that’s out now.

Trax Records: The 40th Anniversary Collection track list

Jacques x Gregory feat. Screamin’ Rachael – “I’ll Take You There (Full Journey Mix)”
Willie Wonka – “What Is House”
Frankie Knuckles – “Your Love”
Marshall Jefferson – “Move Your Body”
Stylophonic – “Jack It Up”
Armando – “Love In Heart”
Mark Row, Jame Starck feat. Carol Jiani, “Free Your Mind’
Paul Johnson – “Follow This Beat”
Screamin’ Rachael – “Rising (Lea Rognoni Remix)”
Fuck Charley Pleasure Zone – “House Nation”
Yuri Suzuki – “DATA MANIA”
D Beat – “Pump It (Lea Rognoni Remix)”
Sir Nesis- “Freaks (So Called Friend Remix)”
Frankie Bones – “Beat Me Up”
Joey Beltram – “The Start It Up”
Ricky Dillard – “As Always (Full Vocal Version)”
Marshall Jefferson – “Ride The Rhythm (Remix)”
Owen E – “Shift”
Analog 87 – “rOOmclaSSic”
Jorge, Carmelo Carone – “Jack the Acid Kid (Hiroko Yamamura & Eric Elvambuena Remix)”
Phuture – “Spank Spank (Original Mix)”
Screamin’ Rachael – “Gina (XXX) [Someone from Lithuania with a Friend Named Jorge Remix]”
Jared – “Fly So High (Roger Sanchez Tilt Mix)”
Hercules – “7 Ways to Jack”
Ron Carroll – “1993 the Bargin Enterprize”
Luca Gerlin – “Battery (Kkles Mix)”
Jesse Velez – “Girls Out On The Floor (Dub)”
Camilo Do Santos – “1984”
Samurai Sam – “House of Japanese”
David Chong – “There Is No Place”
Frankie Knuckles – “Your Love (You Got The Love Remix)”
Seph Martin – “Rainy Nights”
Larry Sherman – “Colors”
Miss Autumn Leaves – “No Turning Back”
Late Nite ‘DUB’ Addict – “The ‘F’ Word”
Carlos Nilmmns feat. Genoveva – “Fade Out (Original Mix)”
Ron Hardy – “Liquid Love (Chicago Mix)”
Screamin’ Rachael – “Sensation (Zewmob Radio Edit)”
Chris Jones – “Strong2 (Dance Mix)”
Screamin’ Rachael – “My Main Man”

Trax Records is releasing a hefty compilation project next month as part of the label’s ongoing 40-year-anniversary celebrations.

Out digitally and on vinyl on June 20, Trax Records: The 40th Anniversary Collection features singles and remixes by house pioneers including Frankie Knuckles, Marshall Jefferson, Ron Carroll, Frankie Bones and Joey Beltram, along with work by the label’s late founder Larry Sherman and its longtime owner/president Rachael Cain, who has long made music under the name Screamin Rachael.

The project was curated by the label’s creative director Jorge Cruz, who’s been with Trax since 2009. Cruz will play as part of a release party for the project happening at Chicago’s Reckless Records on June 20. Beyond Cruz’s set focused on the history of Trax, the event will feature sets by Joe Smooth, Ron Carroll, Screamin’ Rachael and more.

The project will also be available for purchase via limited-edition vinyl drops. On June 20, the first batch of songs of the compilation’s 40 total tracks will be released, with subsequent vinyl releases each containing six to seven tracks to maximize sound quality and happening through January 2026. Vinyl will be available at record stores worldwide.

The Trax plant opened in Chicago in 1984, with the label business becoming officially incorporated the following year, amid the dawn of house music, with Trax widely recognized as a crucial early hub for evolution and dissemination of the genre. In its early years, the label released key house tracks, including Frankie Knuckles and Jamie Principle’s “Your Love,” Marshall Jefferson’s “The House Music Anthem (Move Your Body)” and many other genre-defining classics by artists like DJ Pierre, Ron Hardy, Mr. Fingers, Phuture, Maurice Joshua and Screamin’ Rachael.

The label also recently announced the release of its first vinyl release in more than a decade, Rising Again, a six-track compilation that’s out now.

Trax Records: The 40th Anniversary Collection track list

Jacques x Gregory feat. Screamin’ Rachael – “I’ll Take You There (Full Journey Mix)”
Willie Wonka – “What Is House”
Frankie Knuckles – “Your Love”
Marshall Jefferson – “Move Your Body”
Stylophonic – “Jack It Up”
Armando – “Love In Heart”
Mark Row, Jame Starck feat. Carol Jiani, “Free Your Mind’
Paul Johnson – “Follow This Beat”
Screamin’ Rachael – “Rising (Lea Rognoni Remix)”
Fuck Charley Pleasure Zone – “House Nation”
Yuri Suzuki – “DATA MANIA”
D Beat – “Pump It (Lea Rognoni Remix)”
Sir Nesis- “Freaks (So Called Friend Remix)”
Frankie Bones – “Beat Me Up”
Joey Beltram – “The Start It Up”
Ricky Dillard – “As Always (Full Vocal Version)”
Marshall Jefferson – “Ride The Rhythm (Remix)”
Owen E – “Shift”
Analog 87 – “rOOmclaSSic”
Jorge, Carmelo Carone – “Jack the Acid Kid (Hiroko Yamamura & Eric Elvambuena Remix)”
Phuture – “Spank Spank (Original Mix)”
Screamin’ Rachael – “Gina (XXX) [Someone from Lithuania with a Friend Named Jorge Remix]”
Jared – “Fly So High (Roger Sanchez Tilt Mix)”
Hercules – “7 Ways to Jack”
Ron Carroll – “1993 the Bargin Enterprize”
Luca Gerlin – “Battery (Kkles Mix)”
Jesse Velez – “Girls Out On The Floor (Dub)”
Camilo Do Santos – “1984”
Samurai Sam – “House of Japanese”
David Chong – “There Is No Place”
Frankie Knuckles – “Your Love (You Got The Love Remix)”
Seph Martin – “Rainy Nights”
Larry Sherman – “Colors”
Miss Autumn Leaves – “No Turning Back”
Late Nite ‘DUB’ Addict – “The ‘F’ Word”
Carlos Nilmmns feat. Genoveva – “Fade Out (Original Mix)”
Ron Hardy – “Liquid Love (Chicago Mix)”
Screamin’ Rachael – “Sensation (Zewmob Radio Edit)”
Chris Jones – “Strong2 (Dance Mix)”
Screamin’ Rachael – “My Main Man”

Jennifer Lopez is set to host the 2025 American Music Awards, which will air live coast-to-coast on Memorial Day, Monday (May 26), and she’ll also open the show with a musical performance.

On Thursday (May 22), Lopez took a break from rehearsals to chat with Billboard about hosting and performing. She had a surprising revelation — “I don’t love being a host, to be quite honest” — but she will no doubt give the hosting gig everything she’s got, which is a signature J.Lo trait.

We discussed her debut performance on the show in 1991, as a backup dancer behind New Kids on the Block, a mid-performance slip in 2009 (ever the trouper, she was back on her feet instantly), and a tribute performance to salsa legend Celia Cruz in 2013 that she regards as one of her favorite performances she’s ever done.

This year’s show will be held at Fontainebleau Las Vegas. It’s Lopez’s second time hosting the AMAs; she first hosted the show 10 years ago. Other performers on this year’s show include Janet Jackson (who is set to receive the ICON Award), Rod Stewart (who is set to receive a lifetime achievement award), Benson Boone, Blake Shelton, Gloria Estefan, Gwen Stefani, Lainey Wilson and Reneé Rapp.

Here’s our conversation, with just light edits.

The AMAs went on the air when you were 4 and a half. Did you grow up watching the AMAs and the Grammys?

Absolutely.

Did they kind of feed your dreams?

Yes, they did, absolutely. You can’t help but watch those [shows], being an artist or not even knowing you’re an artist yet, and just be pulled in by the performances and the incredible moments that you see, and people kind of being celebrated for what they do. It was just always amazing to see which moments kind of put a mark on your mind when you’re watching TV and those awards shows. And I do think it makes people who are young artists believe that it’s something you can actually accomplish.

Do you remember specific artists who had that effect on you when you were a kid?

I remember watching with my mom. She was a huge Diana Ross fan, and I remember seeing Diana Ross on the AMAs and the Grammys. I remember seeing all the Motown artists. Tina Turner was also a big one for me.

You’re the fourth music star to solo-host the AMAs twice, following Lionel Richie, Diana Ross and Pitbull. I’d say you’re all in good company.

Oh wow. Yeah, that’s good company. That’s a nice group.

I watched all 10 of your previous AMAs performances the other day – nice work if you can get it – and you really commit. You go all out. It’s like one of your songs says, “Go hard or go home.” You go hard.

I do go hard. I enjoy performing and I enjoy kind of pushing myself out of my comfort zone to do different things. I started as a dancer, so my performances are very kind of dance-oriented because that’s who I am at heart. I feel like I am a singer and I am an actress and I love doing those things, but I think I came out of the womb dancing. And my mother was a dancer, so I think I picked that up from her.

I grew up watching variety shows and specials headlined by people like Ann-Margret and Mitzi Gaynor. There aren’t many places anymore for that kind of all-around entertainer. Awards shows are about it. Just about all 10 of your AMAs performances were big production numbers with big production values. They gave you a showcase to show what you can do.

Yeah, that is true. There’s different things as an artist. I do films as an actor and I do my shows and my touring for my music. Trying to kind of bring those things together is never an easy thing and you don’t get to do that, but I think when you’re hosting an awards show, you get to sing a little bit and dance a little bit and people get to feel your personality and your energy.

I don’t love being a host, to be quite honest. I think that’s why it’s taken me 10 years to do it again. I do get – believe it or not – shy and nervous, but I do remember having a great time doing it back then [in 2015]. I felt like it was a good time to give it another try.

What do you remember about the 1991 show when you were a dancer behind New Kids?

Oh my God, I remember that was such an exciting moment for me. I had been hired as a dancer. This is before I was acting and singing and doing my own music. I was hired to be a backup dancer for New Kids. Just the idea of being part of that was such a big deal. I was right in the middle, in the center, and it was exhilarating, to be quite honest. It was amazing. I couldn’t believe it and being around all the other artists and seeing some of the stars that I liked. It was so much fun.

You were just 21, and that was back when awards shows reached a massive audience.

Yeah, everyone in my neighborhood saw it. They couldn’t believe it was me. It was so much fun. It was a great moment.

In 2009, performing “Louboutins,” you did a dismount and fell on your backside, but what impressed me watching it was how quickly you were back on your feet. It was a split second. Do you remember that?

Of course I do. I just slipped and fell down for a second, but yeah, I got right back up. And it wasn’t as big a deal as everybody made it, but yes, I was a little bit hurt for a couple of days. That whole day I didn’t feel it because I had so much adrenaline, and the performance went so well.

In 2013, you did a tribute to Celia Cruz, in which you performed “Químbara,” “Carnaval” and “Bemba Colorá.” Did you know her?

I did not know her very closely, but I had met her. I was always such a huge fan of hers. Like the minute they asked me to do the Celia Cruz tribute, I knew exactly what songs I wanted to do. I knew exactly the type of number that I wanted to do. It was an amazing moment. I felt kind of her energy flowing through me. That’s probably one of my favorite performances of all time that I’ve done.

The American Music Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.

On the last night of the Music Biz conference in Atlanta on Thursday (May 15), the Music Business Association held its annual Bizzy Awards dinner honoring industry executives, including the late Cindy Charles, who was posthumously bestowed with the organization’s Presidential Award. Charles tragically died in a traffic accident in the Netherlands in October.

In announcing the award — presented to individuals or organizations that have contributed greatly to the overall success of the music industry — Music Biz president Portia Sabin called Charles, who headed the Twitch music team, “a no-nonsense, get-it-done person who loved the music industry…She inspired people to tackle important issues head-on and solve problems the right way. We wanted to give her the Presidential Award posthumously to celebrate all she did for our industry, for women in music, and to create a space for the many people she touched to remember her life and be a part of her legacy.” Charles’ husband and family accepted the award in her honor.

The event was hosted by Lecrae, an artist with nearly 4 million album consumption units accumulated in the U.S., as well as a business executive who founded and runs Reach Records, an Atlanta-based label with a roster that includes himself, Andy Mineo, Trip Lee, Tedashii and Hulvey. In serving as the moderator, Lecrae kept things moving along. Early in the evening, he joked about his dual role as an artist and executive, saying he had to negotiate with himself in signing with his label: “I asked myself for an advance I couldn’t afford,” he quipped.

At the end of the dinner, Lecrae reminded music executives of their responsibilities to the music fans. “I want to share something with you,” he said. “Before I was an artist and an executive, I was a kid on the block hanging with my teenage uncle, who was senselessly gunned down. But music back then spoke to me, and music became my lifeline. As an artist, I get first-hand feedback, so I know every song you fight for in marketing is building a bridge to a kid like I was. So, whatever you do in the music business, whether it is working in metadata, being a lawyer, or at a label, it matters. Remember, you are not just in the music business, you are in the people business.”

Moving back to the awards, most of the categories are contests — each with 3 nominees, with the awards handed out to the winners on Wednesday night (May 14). First up, Colleen Theis won the Leading Light Award, which is presented to a company or executive that has supported their staff via internal initiatives aimed at improving mental health, wellbeing and work/life balance. Meanwhile, the Frontline Innovator award went to Grimey’s Music, an independent record store in Nashville that was cited for showing exceptional inventiveness and ingenuity in store practices during the past year in its interactions with consumers. Meanwhile, the Marketing Superstar Award went to Rhymesayers Entertainment for its campaign around the late MF Doom‘s Mm..Food album.

Prior to the convention, the organization announced that it would present DDEX (Digital Data Exchange) with its Impact Award, with Sabin noting that the organization “has been at the forefront of tackling issues around education, effectiveness & use of music metadata since the early days of music downloads & streaming.” Also at the conference, Elysha Miracle, Concord’s senior vp of rights data management, scooped up the Maestro of MetaData Award.

In other awards, Downtown Music Publishing president Emily Stephenson received the #Next Gen — NOW One To Watch Award, an honor that goes to an executive under 40 whose work has been exceptional, innovative and stands out in its contribution to the industry. Elsewhere, Jerry Brindisi of Columbia College Chicago picked up the award for Music Business Educator of the Year, which celebrates an educator who inspires students to enter the music business.

Finally, Equal Access was presented with the Agent of Change Award for the organization’s efforts “to empower artists and managers from underrepresented demographics in country music by providing financial resources, training and networking opportunities,” according to its website.

Conference capsules:

Record Store Day Town Hall: During this event, indie store owners and label executives wrestled with the right amount of releases for Record Store Day (RSD), with Carrie Colliton of the Dept. of Record Stores, who co-manages the event for the U.S. music industry, noting, “We get a lot more than 500 submissions” for the RSD list. But after surveying U.S. stores participating in the event, “We think 350 titles is the sweet spot,” she added. That amount can provide a good representation, covering different genres and generations. On the latter topic, Colliton noted that “This year, there were a lot of younger customers, but that is the result of a five year campaign” to get labels to release RSD titles that appeal to the younger generation — because the older male music fans who used to dominate the RSD customer base might not want to leave the house for the event as they get older.

This year, a lot of young females came out for RSD, thanks to releases from the likes of Gracie Abrams, Taylor Swift and Charlie xcx. In fact, Doyle Davis from Grimey’s New and Pre-Loved Music in Nashville noted that one of his older customers, who was always first in line every year, was about 20th in line this year even though he showed up at least a day early — supplanted at the front of the line by the younger consumers who are now embracing RSD. Davis reported that the older customer, upon seeing those who had beaten him in line, said, “I am going to have to up my game next year.”

Beyond the younger generation, labels have also been cooperative in releasing titles in genres beyond rock. Even with that, said Tobago Benito of DBS Sounds in Riverdale, Ga., “We need more R&B for RSD.” When pushed to be specific, he asked for the re-release of more 1990s R&B titles, especially given, as someone else pointed out, that those titles likely never had a vinyl release in the first place.

Looking ahead, Colliton noted that the keynote for the RSD coalitions’ annual “Summer Camp” will be given by legendary artist/producer Todd Rundgren, so “expect to see badges that say, ‘Hello It’s Me,’” the title of one of Rundgren’s famous tunes. Further ahead, 2027 marks the 20th anniversary of RSD, and Colliton invited all in attendance to start brainstorming for that event to make it even more special.

Getting Played, Need To Get Paid: During a panel on streamlining song registrations, Dae Bogan, head of third-party partnerships at the Mechanical Licensing Collective (MLC) — who was the founder of the company TuneRegistry earlier in his career — noted that at one point, besides the Harry Fox Agency and whatever performance rights organization a music creator was affiliated with, a simple 14-track album would have to make about 140 registrations when you considered such services as Gracenote, Luminate, and international collection management organizations. “That means that if you had 10 albums, it would require 1,400 registrations,” Bogan said. It was noted during the panel and other seminars that nowadays, there are a lot of companies and services that help make song registration easier, though it still takes a lot of work.

What’s The Payoff? A panel for music industry startups pointed out that unless your company is going to provide at least a 10-times return on investment, venture capitalists are not interested, and you might be better off having a corporate partner or “an angel investor who are into what you are doing,” said Sound Media Ventures founder/CEO Shachar Oren. But, added Influence Partners’ Sun Jen Yung, angel partners and family offices also want big returns. On the other hand, she continued, private equity will take a chance and make an investment in a startup with a payoff that is less than a 10-times return on investment, if the startup is producing cash flow already.

Here’s What Investors Look For in Music Startups: For one, investors like startups that are less risky, so “if you have validated your model and have started generating revenue, that is more attractive to us,” said Oren. That was echoed by Yung, who said, “It is really hard to have a company without a revenue model.” Artes Management principal Tracy Maddox backed up those observations by adding, “Pre-revenue, there are only two names that will invest in your start-up — and their names are Mom and Dad.” Moreover, Yung added, investors also find that startups that offer a renewable payout, not just a one-time payment, as an attractive investment. Secondly, investors look for technology that will not only solve an industry problem but have scalability, meaning it can solve problems for multiple industries, according to Maddox. During another seminar, Bogan reminded technology companies that “interoperability” is a desirable feature.

Here’s What Investors Avoid: “We are staying away from investing in something that [merely] enhances what has been done before,” said Oren, while Rock Paper Scissors CEO Dmitri Vietze joked that investors stay away from any companies spelled with the letters “N,” “F” or “T.”

Other Ways to Corral Piracy: During a panel on what adult entertainment’s dealings with piracy can teach the music industry, Digital Rebelle’s Magali Rheault noted that the adult film genre was “the most pirated…at the beginning” of the digital revolution. While some in the industry tried to fight piracy through lawsuits, it soon became clear that it had to work its way around it, and so most companies hit upon the strategy of using piracy “as a funnel” to ad-supported monetization, she said.

What’s Happening In Catalog Acquisition? In a panel titled “Major Money Moves,” City National Bank’s Denise Colletta noted that the trend of asset-backed securitizations (ABS) is picking up steam. “We are finding a lot of our clients are looking at [ABS deals] for a number of reasons, including the higher advance rate” they provide, she said. (Financial executives have noted to Billboard that when traditional loans are provided to close a deal, the maximum amount of leverage involved is about 45%, while a deal financed with an ABS component may allow for up to 65% leverage. “We have led 3 asset-backed securitizations in the past 12 months,” Colletta said, adding, “We may see seven to ten [ABS deals] this year.”

A producer on Lil Wayne’s hit 2008 album Tha Carter III has sued Universal Music Group (UMG) over claims that he’s owed more than 10 years’ worth of royalties totaling more than $3 million.

UMG was hit with the federal lawsuit on Thursday (May 22) over Darius “Deezle” Harrison’s production work on Tha Carter III, which spent three weeks at No. 1 on the Billboard Hot 100 in 2008. Harrison’s attorney says the producer worked on six tracks for the album, including “Lollipop,” which reigned atop the chart for five weeks.

The lawsuit claims that per Harrison’s producer agreement with Lil Wayne’s Young Money Entertainment, UMG’s Cash Money Records is supposed to pay him a 4% royalty rate for his songs from Tha Carter III. Harrison is also allegedly owed a 3% royalty rate for work he performed under a separate agreement with Cash Money Records, including producing six songs off the 2005 Birdman album Fast Money.

Harrison previously sued Lil Wayne, Young Money Entertainment and Cash Money Records over these same royalties in 2011, and that case settled confidentially a year later. Harrison says UMG began sending him royalty statements around the time of this settlement in 2012 but then stopped “almost immediately.”

“Plaintiffs have not been paid any producer royalties associated with the YME producer agreement or CMR producer agreement for over a decade,” writes lawyer Christopher L. Brown, who represents both Harrison and his company, Drum Major Music Entertainment. “The recordings at issue are fully recouped and over $3 million is owed to plaintiffs.”

Harrison also claims in the lawsuit that Lil Wayne has recycled tracks he created for possible inclusion on Tha Carter III in the years since without his consent. UMG is continuing to monetize these songs as well, the lawsuit says.

The legal complaint levels three claims for breach of contract against UMG. Harrison’s lawyer says the label “has simply taken advantage of Harrison’s hard work and skill as a producer” to make a financial windfall, while completely and intentionally ignoring the contractual obligations” that entitle Harrison to a cut of these profits.  

Reps for UMG and Lil Wayne did not immediately return requests for comment Thursday.

A producer on Lil Wayne’s hit 2008 album Tha Carter III has sued Universal Music Group (UMG) over claims that he’s owed more than 10 years’ worth of royalties totaling more than $3 million.

UMG was hit with the federal lawsuit on Thursday (May 22) over Darius “Deezle” Harrison’s production work on Tha Carter III, which spent three weeks at No. 1 on the Billboard Hot 100 in 2008. Harrison’s attorney says the producer worked on six tracks for the album, including “Lollipop,” which reigned atop the chart for five weeks.

The lawsuit claims that per Harrison’s producer agreement with Lil Wayne’s Young Money Entertainment, UMG’s Cash Money Records is supposed to pay him a 4% royalty rate for his songs from Tha Carter III. Harrison is also allegedly owed a 3% royalty rate for work he performed under a separate agreement with Cash Money Records, including producing six songs off the 2005 Birdman album Fast Money.

Harrison previously sued Lil Wayne, Young Money Entertainment and Cash Money Records over these same royalties in 2011, and that case settled confidentially a year later. Harrison says UMG began sending him royalty statements around the time of this settlement in 2012 but then stopped “almost immediately.”

“Plaintiffs have not been paid any producer royalties associated with the YME producer agreement or CMR producer agreement for over a decade,” writes lawyer Christopher L. Brown, who represents both Harrison and his company, Drum Major Music Entertainment. “The recordings at issue are fully recouped and over $3 million is owed to plaintiffs.”

Harrison also claims in the lawsuit that Lil Wayne has recycled tracks he created for possible inclusion on Tha Carter III in the years since without his consent. UMG is continuing to monetize these songs as well, the lawsuit says.

The legal complaint levels three claims for breach of contract against UMG. Harrison’s lawyer says the label “has simply taken advantage of Harrison’s hard work and skill as a producer” to make a financial windfall, while completely and intentionally ignoring the contractual obligations” that entitle Harrison to a cut of these profits.  

Reps for UMG and Lil Wayne did not immediately return requests for comment Thursday.

Karol G celebrates Latin women and a new career era in her new single “Latina Foreva” out Thursday (May 22) via Bichota Records.

Marking her first official release of the year, the vibrant track — produced by Mazzarri and Misha, and co-written by Karol and Daniela “La Guru” Aponte — blends an early 2000s reggaetón sound with pop melodies, bursting with energetic rhythm and the artist’s signature confidence and cultural pride.

The conceptual music video, directed by Pedro Artola (“Provenza,” “TQG,” “Si Antes Te Hubiera Conocido”), captures the Colombian artist and a group of beautiful ladies at the snowy Mammoth Lakes in California—best showcasing the heat Latinas take wherever they go.

Karol G first teased the new music on Wednesday (May 21) with a NSFW photo. “New single, new era,” she captioned the sensual nude pic, while also using orange-colored emojis that represent her new look and natural, brown locks. In her previous musical eras, Karol was associated with the colors soft pink, bright red, and an electric blue.

“The track honors her musical roots while pushing her sound into daring new territory, marking a dynamic new chapter in her evolution as an artist,” reads an official statement.

“Latina Foreva” comes on the heels of Karol’s self-reflection ballad “Milagros,” part of her Netflix documentary Tomorrow Was Beautiful. Singing about her real-life miracles and blessings, “Milagros” earned the artist her first No. 1 on Billboard’s Hot Latin Pop Songs chart-dated May 24, after its first full tracking week.

Check out the music video for “Latina Foreva” below:

Karol G celebrates Latin women and a new career era in her new single “Latina Foreva” out Thursday (May 22) via Bichota Records.

Marking her first official release of the year, the vibrant track — produced by Mazzarri and Misha, and co-written by Karol and Daniela “La Guru” Aponte — blends an early 2000s reggaetón sound with pop melodies, bursting with energetic rhythm and the artist’s signature confidence and cultural pride.

The conceptual music video, directed by Pedro Artola (“Provenza,” “TQG,” “Si Antes Te Hubiera Conocido”), captures the Colombian artist and a group of beautiful ladies at the snowy Mammoth Lakes in California—best showcasing the heat Latinas take wherever they go.

Karol G first teased the new music on Wednesday (May 21) with a NSFW photo. “New single, new era,” she captioned the sensual nude pic, while also using orange-colored emojis that represent her new look and natural, brown locks. In her previous musical eras, Karol was associated with the colors soft pink, bright red, and an electric blue.

“The track honors her musical roots while pushing her sound into daring new territory, marking a dynamic new chapter in her evolution as an artist,” reads an official statement.

“Latina Foreva” comes on the heels of Karol’s self-reflection ballad “Milagros,” part of her Netflix documentary Tomorrow Was Beautiful. Singing about her real-life miracles and blessings, “Milagros” earned the artist her first No. 1 on Billboard’s Hot Latin Pop Songs chart-dated May 24, after its first full tracking week.

Check out the music video for “Latina Foreva” below:

Alex Warren is breaking generational chains with some help from Jelly Roll. On Thursday (May 22), the two singers released their new collaboration, “Bloodline.”

The country-fied single finds the TikTok sensation-turned-pop singer ruminating over the ties that bind, as he sings, “Take that pain, pass it down like photos on the wall/ Momma said, ‘Your dad’s to blame, but that’s his daddy’s fault’/ Oh, there’s no one left to call,” over tense acoustic guitar.

The song soon breaks into a stomp-and-clap chorus where Warren promises, “From where you came isn’t who you are/ Oh, my brother/ You don’t have to follow in your bloodline,” before tossing the mic to Jelly Roll for a growling second versW.

In April, Warren made a surprise appearance during Jelly Roll’s Stagecoach set, where the duo performed the song live for the first time ahead of its release, as well as the singer/songwriter’s breakthrough hit single “Ordinary.”

The studio version of “Bloodline” arrives in the wake of “Ordinary,” reaching a new high of No. 2 on the Billboard Hot 100 earlier this month (chart dated May 10). The week of May 19, the hard-hitting gospel-inflected anthem simultaneously topped both Billboard Global tallies for the first time, adding to its quickly compounding chart successes that also includes Warren’s first Streaming Songs chart-topper and nine consecutive weeks and counting spent at No. 1 in the U.K.

Meanwhile, Jelly Roll has kept busy since his Stagecoach appearance by hitting the road with Post Malone on the ongoing Big Ass Stadium Tour and performing with Shaboozey at the 2025 ACM Awards. Earlier this week, Jelly also welcomed Eminem onstage in Detroit for a surprise duet version of “Lose Yourself.”

Stream Warren and Jelly Roll’s “Bloodline” below.

Alex Warren is breaking generational chains with some help from Jelly Roll. On Thursday (May 22), the two singers released their new collaboration, “Bloodline.”

The country-fied single finds the TikTok sensation-turned-pop singer ruminating over the ties that bind, as he sings, “Take that pain, pass it down like photos on the wall/ Momma said, ‘Your dad’s to blame, but that’s his daddy’s fault’/ Oh, there’s no one left to call,” over tense acoustic guitar.

The song soon breaks into a stomp-and-clap chorus where Warren promises, “From where you came isn’t who you are/ Oh, my brother/ You don’t have to follow in your bloodline,” before tossing the mic to Jelly Roll for a growling second versW.

In April, Warren made a surprise appearance during Jelly Roll’s Stagecoach set, where the duo performed the song live for the first time ahead of its release, as well as the singer/songwriter’s breakthrough hit single “Ordinary.”

The studio version of “Bloodline” arrives in the wake of “Ordinary,” reaching a new high of No. 2 on the Billboard Hot 100 earlier this month (chart dated May 10). The week of May 19, the hard-hitting gospel-inflected anthem simultaneously topped both Billboard Global tallies for the first time, adding to its quickly compounding chart successes that also includes Warren’s first Streaming Songs chart-topper and nine consecutive weeks and counting spent at No. 1 in the U.K.

Meanwhile, Jelly Roll has kept busy since his Stagecoach appearance by hitting the road with Post Malone on the ongoing Big Ass Stadium Tour and performing with Shaboozey at the 2025 ACM Awards. Earlier this week, Jelly also welcomed Eminem onstage in Detroit for a surprise duet version of “Lose Yourself.”

Stream Warren and Jelly Roll’s “Bloodline” below.

In July 1998, the Billboard Hot 100 was dominated by hits like Brandy and Monica’s “The Boy Is Mine,” Shania Twain’s “You’re Still the One,” Usher’s “My Way” and Next’s “Too Close.”

But beyond the mainstream, another type of music was permeating club spaces in major cities across the U.S. and beyond as dance music continued its rise out of the underground and became a cultural phenomenon.

As part of it all, on July 24, 1998, Philadelphia-born acid house producer Josh Wink played an extended set at New York City’s then-essential club Twilo. Three years prior, Wink had released his breakout single, the era-defining rave track “Higher State of Consciousness,” along with the club hits “don’t Laugh” and “I’m Ready,” making the then extremely dreadlocked producer a scene star known not only for his evocative productions, but for long sets that brought audiences through myriad sounds, BPMs and mood.

Wink is now marking these anniversaries with Wink’s Found Sounds, a release series that will include unreleased performances, rare live recordings and other aural ephemera. The releases begin with Wink’s set from Twilo, which you can hear exclusively below.

“Twilo became an international club institution in the 1990s, located in the heart of New York City,” Wink says in a statement. “DJs and fans were drawn to it for the same reason: to experience great, diverse music on an incredible sound system in a venue that had become a mecca for electronic music. It felt like home to me — a place where I could fully embody entertainer and educator. What I loved most was watching the crowd respond — an ocean of bodies ebbing and flowing to the beat, eyes closed, mentally swimming through my selections. That, to me, was Twilo.”

While Twilo closed in 2001, you can go back in time to the club via this 90-minute mix spanning house, acid house, drum & bass, techno and more.

In July 1998, the Billboard Hot 100 was dominated by hits like Brandy and Monica’s “The Boy Is Mine,” Shania Twain’s “You’re Still the One,” Usher’s “My Way” and Next’s “Too Close.”

But beyond the mainstream, another type of music was permeating club spaces in major cities across the U.S. and beyond as dance music continued its rise out of the underground and became a cultural phenomenon.

As part of it all, on July 24, 1998, Philadelphia-born acid house producer Josh Wink played an extended set at New York City’s then-essential club Twilo. Three years prior, Wink had released his breakout single, the era-defining rave track “Higher State of Consciousness,” along with the club hits “don’t Laugh” and “I’m Ready,” making the then extremely dreadlocked producer a scene star known not only for his evocative productions, but for long sets that brought audiences through myriad sounds, BPMs and mood.

Wink is now marking these anniversaries with Wink’s Found Sounds, a release series that will include unreleased performances, rare live recordings and other aural ephemera. The releases begin with Wink’s set from Twilo, which you can hear exclusively below.

“Twilo became an international club institution in the 1990s, located in the heart of New York City,” Wink says in a statement. “DJs and fans were drawn to it for the same reason: to experience great, diverse music on an incredible sound system in a venue that had become a mecca for electronic music. It felt like home to me — a place where I could fully embody entertainer and educator. What I loved most was watching the crowd respond — an ocean of bodies ebbing and flowing to the beat, eyes closed, mentally swimming through my selections. That, to me, was Twilo.”

While Twilo closed in 2001, you can go back in time to the club via this 90-minute mix spanning house, acid house, drum & bass, techno and more.

Joey Bada$$ plans to capitalize on the bicoastal rap battle he’s currently winning by releasing a new album this year.

While appearing on UPROXX’s video series Sound Check, the Brooklyn rapper and actor told host Jeremy Hecht that he plans to drop his first full-length project since 2022 in the summer. “The goal is to get the album out before August 30,” he said after being asked if there was an album in the works.

Joey Bada$$ has been controlling the conversation in rap since he dropped “The Ruler’s Back” on New Year’s Day, kicking off a monthslong rap battle between the East Coast and West Coast that features close to 30 diss tracks and around 10 rappers. In his latest track “Crash Dummy,” he called out Kendrick Lamar hoping for a response, as the Compton rapper is on his Grand National Tour with SZA. And according to Compton rap vet Glasses Malone, Joey may very well get his wish, saying that he should be expecting a response at any moment.

Elsewhere in the episode, he spoke on the influence the late MF DOOM had on his career early on, revealing that his late friend and collaborator Capital STEEZ put him on to the masked villain. “I actually wrote that verse to an MF DOOM beat called “Monkey Suite,” he said of his and STEEZ’s classic track “Survival Tactics.”

“Rest in Peace my brother STEEZ because he put me on to MF DOOM and I remember I fell down a crazy rabbit hole. I would just listen to a bunch of MF DOOM beats, just improving my flow, and my lyrics. But then STEEZ sent me the Styles of Beyond beat that we actually did that song to.”

You can watch the full episode below.

Joey Bada$$ plans to capitalize on the bicoastal rap battle he’s currently winning by releasing a new album this year.

While appearing on UPROXX’s video series Sound Check, the Brooklyn rapper and actor told host Jeremy Hecht that he plans to drop his first full-length project since 2022 in the summer. “The goal is to get the album out before August 30,” he said after being asked if there was an album in the works.

Joey Bada$$ has been controlling the conversation in rap since he dropped “The Ruler’s Back” on New Year’s Day, kicking off a monthslong rap battle between the East Coast and West Coast that features close to 30 diss tracks and around 10 rappers. In his latest track “Crash Dummy,” he called out Kendrick Lamar hoping for a response, as the Compton rapper is on his Grand National Tour with SZA. And according to Compton rap vet Glasses Malone, Joey may very well get his wish, saying that he should be expecting a response at any moment.

Elsewhere in the episode, he spoke on the influence the late MF DOOM had on his career early on, revealing that his late friend and collaborator Capital STEEZ put him on to the masked villain. “I actually wrote that verse to an MF DOOM beat called “Monkey Suite,” he said of his and STEEZ’s classic track “Survival Tactics.”

“Rest in Peace my brother STEEZ because he put me on to MF DOOM and I remember I fell down a crazy rabbit hole. I would just listen to a bunch of MF DOOM beats, just improving my flow, and my lyrics. But then STEEZ sent me the Styles of Beyond beat that we actually did that song to.”

You can watch the full episode below.

Following an extended delay in the reopening of New York club Brooklyn Mirage, Josh Wyatt will no longer serve as CEO of the club’s parent company, Avant Gardner, sources close to the situation confirm to Billboard.

Gary Richards, Avant Gardner’s non-executive chairman of the board, will manage day-to-day operations for Avant Gardner in the interim, effective immediately.

The leadership swap follows a turbulent few weeks for Avant Gardner, the company and events complex, and its flagship venue, Brooklyn Mirage. After an extensive remodel and much fanfare, the club was set to open on May 1 with a two-night run from hard techno producer Sara Landry. Those shows were both canceled by the club hours before they were set to begin, after building inspectors declined to grant the recently renovated facility a permit to open.

All subsequent shows at the venue have been canceled or postponed, with the club making a statement on social media earlier this week that read, “We’re sad to announce that our Brooklyn Mirage shows through Memorial Day weekend have been moved to dates in July and August.”

As reported by Billboard earlier this month, sources monitoring the situation said Mirage officials were given a list of fixes that needed to be completed for the club to open following an extensive renovation at the venue complex Avant Garner, which includes the 80,000-square-foot, 6,000-capacity Williamsburg nightclub. Widely recognized as one of the top stops in New York for electronic and dance acts, the Mirage had operated for years with the support of New York Mayor Eric Adams, whose office has intervened on Avant Gardner’s behalf as part of an ongoing legal fight with New York’s State Liquor Authority.

The former CEO of NeueHouse, Wyatt was hired as Avant Gardner CEO last October. Richards, meanwhile, is a longtime dance industry figure who founded HARD Events in Los Angeles in 2007 (the company was acquired by Live Nation in 2012). He is also the former North American president of Live Style, the founder of the All My Friends and Friendship festivals, and has been a board member at Avant Gardner since 2024.

A representative for Avant Gardner did not immediately respond to Billboard’s request for comment.

Following an extended delay in the reopening of New York club Brooklyn Mirage, Josh Wyatt will no longer serve as CEO of the club’s parent company, Avant Gardner, sources close to the situation confirm to Billboard.

Gary Richards, Avant Gardner’s non-executive chairman of the board, will manage day-to-day operations for Avant Gardner in the interim, effective immediately.

The leadership swap follows a turbulent few weeks for Avant Gardner, the company and events complex, and its flagship venue, Brooklyn Mirage. After an extensive remodel and much fanfare, the club was set to open on May 1 with a two-night run from hard techno producer Sara Landry. Those shows were both canceled by the club hours before they were set to begin, after building inspectors declined to grant the recently renovated facility a permit to open.

All subsequent shows at the venue have been canceled or postponed, with the club making a statement on social media earlier this week that read, “We’re sad to announce that our Brooklyn Mirage shows through Memorial Day weekend have been moved to dates in July and August.”

As reported by Billboard earlier this month, sources monitoring the situation said Mirage officials were given a list of fixes that needed to be completed for the club to open following an extensive renovation at the venue complex Avant Garner, which includes the 80,000-square-foot, 6,000-capacity Williamsburg nightclub. Widely recognized as one of the top stops in New York for electronic and dance acts, the Mirage had operated for years with the support of New York Mayor Eric Adams, whose office has intervened on Avant Gardner’s behalf as part of an ongoing legal fight with New York’s State Liquor Authority.

The former CEO of NeueHouse, Wyatt was hired as Avant Gardner CEO last October. Richards, meanwhile, is a longtime dance industry figure who founded HARD Events in Los Angeles in 2007 (the company was acquired by Live Nation in 2012). He is also the former North American president of Live Style, the founder of the All My Friends and Friendship festivals, and has been a board member at Avant Gardner since 2024.

A representative for Avant Gardner did not immediately respond to Billboard’s request for comment.