Assignments: Annie ChristensenVP, Catalogue

Warner Chappell Music UK

Warner Chappell Music UK (WCM UK) has announced the appointment of music executive Annie Christensen as Vice President, Catalogue. She will report into WCM UK President, Shani Gonzales.

“Warner Chappell Music holds one of the most storied songbooks in music history, so it'll be a huge privilege to help lead the strategy that connects these classic songs to brand new audiences," Christensen said. "Having spent my career on the frontlines of A&R, I’ve gained a unique perspective on what truly resonates with fans.”

For more, contact communications@warnerchappell.com.

The post Assignments: Annie Christensen first appeared on Music Connection Magazine.

FTC and four states demand jury trial in BOTS Act lawsuit against Live Nation and TicketmasterThe US Federal Trade Commission and four states have demanded a jury trial in their lawsuit against Live Nation and its ticketing subsidiary, Ticketmaster. Colorado, Florida, Illinois, and Nebraska joined the FTC in the demand, which was filed in federal court in Los Angeles on Tuesday (October 27). The lawsuit alleges that Live Nation and … Continued
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Predictable #AI #Music remix and cover generator at #Spotify all-in-one, it's #MusicBusiness

How One Line Reveals a Different Side of David Bowie's Most Famous Space AdventureDavid Bowie's "Space Oddity" tells a haunting story of space travel, but one unexpected lyric reveals a surprisingly different side of the song.

Reverend Horton Heat at Cat’s Cradle, Carrboro, NCWeb: reverendhortonheat.com

Contact: sethweiss@atomicmusicgroup.com

Players: Jim Heath aka Rev. Horton Heat, guitars, vocals, preachin’; Jimbo Wallace, bass, double bass, vocals; Jonathan Jeter, drums, percussion

This wasn’t just a show—it was a psychobilly sermon that erupted into a rockabilly riot the moment this three-alarm fire walked onstage. And there can be no doubt: rockabilly is alive and well in the church of what’s happening now, and its Pastor, Prophet and Minister of Groove is the Rev. Horton Heat hisself!

Tonight, the Reverend Horton Heat took the scenic route to Bedlam, and this enthusiastic, very vocal crowd went right along with him—no questions asked—drenched in a sermon of guitar groove that never let up.

Maybe that’s the whole point. It was loud, immersive and loaded with rockabilly guitar and boogie riffs that had every player in the crowd salivating, anxious to get back to the bedroom and practice what they’d just witnessed. From the first notes of “Bullet,” “Baddest” and “Rock ’n’ Roll Now,” it was a rockabilly wet dream—and you could hear every shade of the groove imaginable.

Think early Carl Perkins on a bus driven by Wanda Jackson, with Scotty Moore loading the bags, Gene Vincent serving Mai Tais, and the great Cliff Gallup and Brian Setzer playing cards in the back and shouting out the roadside attractions. Oh, and maybe a little bit of the Centuries thrown in for good measure.

It’s high-energy proto-punk, and the songs are wildly creative in that unmistakable groove-a-billy style. Tucked among the next three rockers was “Teach,” a beautiful, down-tempo billy-ballad that clearly demonstrated the Reverend’s remarkable touch. 

This trio was on fire, and the bass player was tearing through the rockabilly bass lines with complete insanity. His white shock of hair flew this way and that as he slapped and slammed that poor bass into submission. Stop! Help! Police!

“Galaxy,” “Do I Love You” and “Big Red Rocket” showcased another side of this groove machine. Playing rockabilly that fast can obscure just how schooled—and downright musically sophisticated—these boys really are. “D for Danger” and “I Can’t Surf” revealed a sonic intelligence that could easily be missed amid all the glorious commotion.

Brian Setzer and the Stray Cats pulled this genre out of the dusty trunk of lost and discarded grooves. The Reverend grabbed that torch, poured gasoline on it and headed straight down the tracks.

This band has complete control of the madness. They take it to the edge, balance it on a shoestring fifty floors above the pavement, then lower you so smoothly that you think you’re fine—until the next song hits like the hot kiss at the end of a wet fist. The post Reverend Horton Heat at Cat’s Cradle, Carrboro, NC first appeared on Music Connection Magazine.

"Newly Sentient Being" By SwansYoung God Records/Mute

Producer: Michael Gira

This marathon two-hours and 41-minute live album, recorded in Berlin last November, captures Michael Gira and his gloriously perplexing experimental collective Swans closing out their so-called “Big Sound” era. An endlessly evolving prism of chaos, it seamlessly moves from soothing to hypnotic to unapologetically savage.

The mélange spewing forth feels as if birthed from some unholy reality, leaving humanity the task of figuring out what to do with it. An accompanying DVD is also included.The post "Newly Sentient Being" By Swans first appeared on Music Connection Magazine.

It was obvious that one sale of 1 CD on your web page to your listeners brings you more 💵 than several years from streaming if your artist is not that big - new/old #MusicBusiness

Trueblood Signs With Mercury RecordsDate Signed: January 2026

Label: Mercury Records

Band Members: Cameron Trueblood, drums; Dylan Trueblood, guitar; Mason Trueblood, vocals, guitars; Ethan Trueblood, bass

Genre: Alternative Rock

Management: Allison Kaye

Booking: Megan Glendinning

Legal: Nicky Stein

Publicity: Marisa Bianco, Katie O’Gara

A&R: Jake Levensohn

Web: truebloodtheband.com

It’s almost as if their last name was tailor-made to reflect their musical ambitions. The four brothers (Cameron, Dylan, Ethan, and Mason) in Trueblood started making music together during COVID when they were no more than 6, 8, 10, and 11 years old. With the world on lockdown, it was one of the few activities at their disposal at home. 

The boys began playing shows after the pandemic lifted, even when hardly anyone noticed. They once rocked out in front of a candle shop tucked behind a bar. “We had a two-hour time slot, and maybe four people walked by,” reports Cameron, the alt-rock group’s drummer. 

In August of 2024, they did their thing on the beach for around 300 people. At the time, that was their biggest show ever. “I was so excited,” exclaims Ethan. “I talked to my friends about that for the next few months.” That could have been their last show ever, given that Cameron was applying for college and Dylan wasn’t far behind. 

But come November, they posted a video on TikTok of a Linkin Park cover, and it went viral. A series of songs on social media followed, ultimately generating a billion views. “That made us start taking all this much more seriously,” claims vocalist Mason. 

They began uploading tracks to DSPs in 2025 and the natural next step was to start building a team. “Our parents helped us a lot as we were navigating finding a lawyer and a manager,” says guitarist Dylan, pointing out that they were all minors at the time. They did just that and subsequently let their management field label offers, one of which came from Mercury Records. 

“Mercury impressed us the most,” flatly states Mason. Adds Dylan, “We’ve been really grateful for all the work they’ve done. We love the team.” The fact that the label’s reps came to see them play, rather than just speak with them over Zoom, led the teens to feel comfortable joining the UMG family.

Since inking the deal, the Trueblood siblings have worked with a modest galaxy of megastars, including Maroon 5, Black Eyed Peas, sombr, and Coldplay. It’s something that likely wouldn’t have happened without the label’s backing. They also connected with producer Andrew Goldstein, who helmed their recent 5-track EP, First Impressions. 

“For us, signing with Mercury was a form of motivation,” insists Mason. “They kind of put a seed in our brains of taking the right path.”

Listen for their song, “Come Back, I Miss You,” on the EA SPORTS FC 27 Official Soundtrack.

Photo by Jordan WilletThe post Trueblood Signs With Mercury Records first appeared on Music Connection Magazine.

UMG’s share price closes up 7.9% – adding around $2.5B in value – after Q3 subscription growth beats forecastsAt its peak today, the rally added around USD $4.8 billion (EUR €4.3bn) to UMG's market capitalization.
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How Johnny Cash's Final Masterpiece Changed a Nine Inch Nails Song ForeverJohnny Cash gave Nine Inch Nails’ “Hurt” a whole new meaning with a deeply personal cover that became one of the most memorable recordings of his career.

How an Iconic 2000s Pop Anthem Found a Huge New Audience Through SaltburnSophie Ellis-Bextor’s “Murder on the Dancefloor” found a new generation of fans after its unforgettable appearance in Saltburn, more than 20 years after its release.

Rod MacDonald at the Cul-de-Sac Soundtrack, Ann Arbor, MIWeb: rodmacdonald.com

Contact: Via website

Players: Rod MacDonald, vocals, acoustic guitar, harmonica; Cheryl Dawdy, vocals

A traveling poet, composer, musician and street performer—these are all the requisite qualities of one known as a troubadour. Singer-songwriter Rod MacDonald has fulfilled all those roles, including the author of three books, for nearly five decades. He’s released over 15 albums, with his latest being Undo the Damage. 

MacDonald learned the craft of songwriting the old-fashioned way, by rolling up his sleeves, putting pen to paper and absorbing all the information he could consume from experiences as a resident of the storied Greenwich Village café and folk club scene for over 20 years. A number of his songs have been recorded by such luminaries as Jonathan Edwards, Dave Van Ronk, Four Bitchin’ Babes, Shawn Colvin and Garnet Rogers. 

MacDonald has played various folk festivals, theaters and sheds around the globe, but, assuredly, one of the forums where he exceptionally shines is within the intimacy of a living room house concert. It is a setting that appeared most comfortable for the 70-something singer-songwriter where there was no artifice; just the man and his music.

Over a series of two sets MacDonald played a treasure trove of his own compositions that were reflective of his views on society, politics, love and romance and an overall smattering of personal philosophy. The opening tune, based on a Scottish fiddle reel, was called “Come Out, Come Out Annie.”

It was a decidedly upbeat and lighthearted number that aroused the crowd and thoroughly engaged the attendees from the get-go. That was followed by another lively and clever take on married life called “You’re Already My Wife.” MacDonald is certainly an artist that immediately knows how to read a room, and his autobiographical tale of mid-life marital bliss connected with his demographic. He offers commentary on all aspects of the human condition and demonstrates his ability to break down a political regime on the calypso-flavored “Banana Republic.” 

The diversity of subject matter expanded into some Chuck Berry-like rock ‘n roll for one of his newer songs called “Leather Jacket.” It was simply about the joys of purchasing his first leather and all the exploits and memories they’ve shared. After that, MacDonald invited a friend and colleague Cheryl Dawdy to join him on one of her original compositions called “The Last Time.”

Dawdy was a member of the celebrated Ann Arbor-based vocal trio The Chenille Sisters for many years and it was nice to see her connect with MacDonald once again on a truly beautiful ballad. They collaborated on a couple more tunes throughout the night. The troubadour capped the first set performing the title track off his latest album. With lyrics inspired by our nation’s turbulent course of events, it appeared to be a rallying cry for many in the audience.The post Rod MacDonald at the Cul-de-Sac Soundtrack, Ann Arbor, MI first appeared on Music Connection Magazine.

Universal Music Group generated $3.90B in Q3, up 11.7% YoY – driven by Mrs. Green Apple, Olivia Rodrigo, Stray Kids, Ariana Grande, and The BeatlesAdjusted EBITDA came in at €729 million ($838.7m), a margin of 21.5%, down from 22.0% in Q3 2025 but up on the 20.5% margin it posted in the prior quarter (Q2 2026)
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How a 'Raw' Guitar Sound on a 1973 Album Changed Rock Music ForeverJames Williamson brought a fierce edge to the Stooges' sound with Raw Power. Discover how his sharp riffs and explosive guitar playing helped shape punk rock.

Exclusive: Create Music Group now owns a minority stake in DistroKidCreate, supported by private capital backers Flexpoint Ford and Ares, made the investment earlier this year
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