Songwriter Matt McKinney Signs Worldwide Publishing Deal with Position MusicShown (left to right): Mark Chipello (President, Position Music), Chandler Thurston (Position Music, A&R), Matt McKinney, and Tyler Bacon (Founder & CEO, Position Music)

Position Music officially announced that Nashville-based songwriter Matt McKinney has signed a worldwide publishing deal. The move brings McKinney into a growing stable of Nashville talent that already includes names like Dave Cohen, Matt Geroux, Khal Yassein, Steve Solomon, and Zach Skelton—a sign that Position is doubling down on deepening its footprint in Nashville.

McKinney, originally from Augusta, Georgia, made the move to Nashville just after graduating from the University of Georgia. He wasted little time establishing himself: his first publishing deal was with Sony Music Publishing, and he has since amassed a catalog of cuts with major artists such as Jordan Davis (“Part Of It”), Elle King (“Ohio,” “Lucky,” “Tulsa,” among others), Jon Pardi (“Beer For Santa”), Bryce Leatherwood (“Neon Does,” “In Lieu Of Flowers”), along with songs for Ella Langley, Tim McGraw, ERNEST, Kolby Cooper, and Shane Profitt. This range speaks to his versatility and his growing reputation on “Music Row.”

Position Music CEO Tyler Bacon underscored their confidence in McKinney, while A&R rep Chandler Thurston praised his “honest, authentic, and genuine” style, calling him “a great storyteller.” “We are proud to welcome Matt McKinney … and our team is excited and ready to lean in to help unlock new opportunities for him,” said Mark Chipello, President of Position Music.

McKinney himself shared the excitement with characteristic humility: “I’m incredibly excited to be a part of this roster and team at Position moving forward in my career, and thankful to have a champion like Chandler in my corner as we turn a page to this exciting chapter.”

The post Songwriter Matt McKinney Signs Worldwide Publishing Deal with Position Music first appeared on Music Connection Magazine.

‘That’s called robbery’: Gene Simmons urges US Congress to end loophole that allows radio stations not to pay for using recordingsThe KISS frontman told a Senate hearing that recording artists are treated 'worse than slaves' in the US
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2025 Live Music Society Toolbox Grants awarded, surpassing $5.1M in total support for Small VenuesLive Music Society is closing out 2025 with a major boost for small independent venues. The nonprofit announced recipients of its 2025 Live Music Society Toolbox Grants, awarding $252,500 to 33 small performance spaces across 19 states and Washington, D.C.
The post 2025 Live Music Society Toolbox Grants awarded, surpassing $5.1M in total support for Small Venues appeared first on Hypebot.

6 New Year’s Resolutions for Musicians in 20262026 is right around the corner. Need help figuring out your musical goals for the next year? Here, borrow some of ours.
The post 6 New Year’s Resolutions for Musicians in 2026 appeared first on Hypebot.

Assignments December 2025: Who Got Hired?Rachel Wein

Senior Director, A&R

MNRK Music Group

MNRK Music Group announced the hiring of Rachel Wein as Senior Director, A&R. In her new role, Wein will identify and develop talent for both the MNRK and Dualtone labels, while cultivating deeper relationships with managers, attorneys, and other industry leaders. She will report directly to MNRK COO Chris Moncada and is based in Nashville, TN. Moncada said, “We are so very fortunate to have Rachel on board. Her compassionate ear is a huge asset as we continue to grow the artist roster at both MNRK and Dualtone.” For more, contact gmelchiorre@mnrk.com.

Mark Skipper

National Sales Manager, Eastern U.S.

Solid State Logic

Solid State Logic has announced the appointment of Mark Skipper to the position of National Sales Manager, Eastern U.S. Skipper will be responsible for SSL Broadcast and Live solutions, joining SSL’s U.S.-based distributor, Group One Ltd. as part of expanding its business development and customer relationships, reporting to Rick Naqvi, Senior VP of USA Sales. "I am proud to be working alongside such an extraordinary team of professionals, making an audible difference in the productions of our customers,” said Skipper. For more, contact jeff@hummingbirdmedia.com.

Hannah Carlen

VP, Marketing and Communications

Nonesuch Records

Hannah Carlen has been named Nonesuch Records’ Vice President of Marketing and Communications. In her new role, Carlen oversees marketing, sales, publicity, new media, and content creation for the Warner Music Group’s acclaimed label. Carlen reports to Nonesuch President David Bither and is based at the label’s global headquarters in New York City. “I am grateful that Nonesuch will benefit from the rich experience [Carlen] brings us,” said Bither. Carlen added, “I am honored beyond belief to have the trust of [Nonesuch's] leadership.” For more, contact melissa.cusick@nonesuch.com.

Weston McGowen

Global Head of Catalog Services

SourceAudio

SourceAudio has promoted Weston McGowen to Global Head of Catalog Services. Based in New Orleans, McGowen will now oversee SourceAudio’s global catalog ecosystem, including client operations, metadata, and rights-management infrastructure for the company’s extensive network of rightsholders, publishers, broadcasters, and media partners. He will also direct SourceAudio’s Rights and Royalties Division, which includes SourceAudio Collect, the company’s publishing-administration arm representing more than 1.6 million works.For more, contact laurie@jaybirdcom.com.

Alexander Shelley

Principal Conductor

The National Concert Hall

The National Concert Hall (NCH) has announced the appointment of Alexander Shelley as National Symphony Orchestra Ireland’s new Principal Conductor. This will be for an initial term of three seasons, commencing in September 2026. Alexander takes on these roles further to the completion of Jaime Martín’s term as Chief Conductor in May 2024. “I am deeply honoured to be joining National Symphony Orchestra Ireland and to become part of an organisation so devoted to making music a central force in Ireland’s cultural life. I’m inspired by the extraordinary artistry of the Orchestra’s musicians,” said Shelley. For more, contact assumpta.lawless@nch.ie.

Tammy Hurt

Board of Directors Member

Marathon Live

Music executive Tammy Hurt has joined the Marathon Live Board of Directors. She brings 25+ years of entertainment business experience to the growing Nashville based full-service facility promoter and operating company. "I’m thrilled to join the board of Marathon Live and contribute to its legacy as a vibrant hub for live music. It’s an honor to help shape its future and champion the artists, fans, and community that make it extraordinary," said Hurt. CEO Mark Dinerstein added, “We value her decades of experience and perspective on the state of the music industry to help shape Marathon Live’s future.” For more, contact agreenberg@falconpublicity.com.

Dr. Richard James Burgess, MBE

Chair

PPL

PPL has appointed Dr. Richard James Burgess, MBE as its new Chair. Burgess will lead the PPL Board as the organization continues to grow. Peter Leathem OBE, CEO, PPL said, “[Burgess] brings a strong vision, a track record of balancing innovation with institutional stability, and deep personal experience across many of the roles our members hold.” “I look forward to guiding the next chapter of [PPL’s] growth and ensuring its continued strength and relevance in today’s rapidly evolving global music ecosystem,” said Burgess. For more, contact jeff@thesyn.com.

Brooke Webster

A&R Manager

Prescription Songs

Prescription Songs has announced the promotion of Brooke Webster to A&R Manager. Webster, who is based out of the company’s Los Angeles office, looks after a diverse roster of artists, songwriters and producers. “Brooke’s passion for working with our writers and producers, and her knowledge of both the Nashville and Los Angeles music scenes, has been invaluable to Prescription,” said Rhea Pasricha, Head of A&R, West Coast. “We are so excited to see her take on this new A&R Manager role and help shape the future of the company.” For more, contact agreenberg@falconpublicity.com.The post Assignments December 2025: Who Got Hired? first appeared on Music Connection Magazine.

Reactional Music taps MusicInfra to build ‘next-generation’ rights management platform for gaming'Music’s use has exploded across platforms and devices, which means that traditional frameworks and the supporting infrastructure must evolve...'
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African Artists Are Reaching More Global Listeners With Help From AudiomackMusic industry data analytics collector, Soundcharts, is teaming up with streaming and discovery platform, Audiomack, to help continue African Music's global expansion trajectory.
The post African Artists Are Reaching More Global Listeners With Help From Audiomack appeared first on Hypebot.

Clipping. Announced as the 2026 Sled Island Music Festival Guest CuratorIn this post, we share details of Sled Island's announcement, plus how and why guest curators can offer local audiences a more bespoke largescale event experience in 2026.
The post Clipping. Announced as the 2026 Sled Island Music Festival Guest Curator appeared first on Hypebot.

EPiC: Elvis Presley In Concert One-week exclusive IMAX (NYSE: IMAX) engagement on February 20, 2026;

Theaters everywhere on February 27th. 

NEON and Universal Pictures International announce the global theatrical release of acclaimed visionary filmmaker Baz Luhrmann’s (Elvis, The Great Gatsby, Moulin Rouge!) EPiC: Elvis Presley In Concert with a one-week exclusive IMAX (NYSE: IMAX) engagement on February 20, 2026.

The release will allow audiences around the world to immerse themselves in a one-of-a-kind cinematic experience, hearing Elvis perform and tell his story like never before, with the unmatched power of IMAX. 

Following the one-week engagement, EPiC: Elvis Presley In Concert will hit theaters everywhere on February 27th. 

In September 2025, the film critic Owen Gleiberman of Variety praised the documentary.

https://variety.com › film › reviews › epic-elvis...

From Sony Music Vision, Bazmark, and Authentic Studios, the film debuted to raves and a standing ovation at the Toronto International Film Festival, people even danced in the aisles.

EPiC features long-lost footage from Presley’s legendary Vegas residency in the 1970s, woven together with rare 16mm footage from Elvis on Tour and treasured 8mm film from the Graceland archive, along with rediscovered recordings of Elvis telling “his side of the story.”

EPiC marks Luhrmann’s second major project centered around Elvis Presley, following Elvis in 2022, which earnedeight Academy Award® nominations, won multiple BAFTA’s® and Golden Globes®, and grossed nearly $300 million worldwide. With EPiC, Luhrmann transforms unearthed archival material into an electrifying cinematic odyssey that captures Elvis at his best; raw, human, eccentrically humorous, intimate and electric.

The filmis produced by Sony Music Vision, Bazmark, and Authentic Studios.

My only personal location-dependent sighting of Elvis was on a Saturday afternoon during the summer of 1967. I was a teenager, in Dr. Morris Feldman’s Picwood Dental office in West Los Angeles near the MGM studio in Culver City. Presley arrived in a Rolls-Royce, flanked by two guys and immediately whisked into the dentist chair. Dr. Feldman mentioned Elvis broke a tooth during the filming of a movie called Speedway. 

I saw the December 1968 Elvis: The ‘68 Comeback Special on NBC-TV. Afterwards, my father and mother went to see one of Presley’s August 1969 shows at the International Hotel in Las Vegas and gave an enthusiastic review.  

During 2008, I wrote the 5,000-word liner note essay for the 40th anniversary edition of Elvis: The ’68 Comeback Special released by Sony/Legacy Recordings.  In 2007, I was interviewed for MGM Home Entertainment’s deluxe DVD edition of Presley’s film, Jailhouse Rock.

On November 14, 1970 I took three buses from West Hollywood to Inglewood to see Elvis Presley’s debut at the Forum, his first concert in Southern California in 13 years. In 1968 I witnessed the Doors at the Forum, the Rolling Stones twice in 1969 at the same venue and now Elvis. It was a devoted beehive hairdo crowd like a casting call from another era. Thousands of cameras clicked and flashed when Elvis emerged on stage. Presley’s voice sounded terrific as I sat in the colonnade section.

Between 1972 and 1976, Grelun Landon, the beloved and well-respected head of public affairs at RCA Records in Hollywood on Sunset Blvd. arranged for me to attend a handful of Elvis 1972-1976 concerts as a music journalist and briefly meet Presley’s manager, Colonel Tom Parker. 

“I have a feeling in 10 years or sometime in the future you may still be writing about Elvis,” suggested the USC graduate.  

Around October of 1972, Grelun invited myself, Rodney Bingenheimer of GO! magazine, and Canadian music journalist and Hit Parader magazine contributor Larry LeBlanc to a screening of Elvis On Tour, which chronicled Presley’s ’72 US personal appearances and concerts. It was directed by Pierre Adidge and Robert Abel and released by MGM in November 1972. That same month I heard these filmmakers speak at an RCA Records college seminar.

“I was there at the MGM screening in Culver City,” LeBlanc emailed in September 2025.

“Grelun invited me and he introduced me to Parker. Huge theatre with maybe 35 of us with incredible sound and picture. I knew Rodney a bit and I said hello. Parker was at the concession stand handing out popcorn.”  

It was Grelun who had introduced me in 1974 to Vernon Presley at an Elvis concert in Anaheim. Vernon and guitarist James Burton could walk around the Convention Center during intermission and not be recognized. The crowd came to see Elvis but I came to check out his band, too.

In 1976 I interviewed Emmylou Harris in Studio City for Melody Maker before she did her first show at McCabe’s Guitar Shop in Santa Monica. Glen D Hardin and James Burton were at her rehearsal. At the time I was driving a 1959 Cadillac with big fins. Burton’s ride was a new Cadillac El Dorado. James was delighted to chat about Elvis and the Shindig! television series. He was in the house band where I attended tapings at the ABC-TV studios on Prospect Ave.

In 1976 and 77 I reviewed two Elvis Presley concerts for Melody Maker. My 1977 article was headlined “The King Has Lost His Crown.” Presley was now forgetting lyrics and dropping the microphone in performance. This was a man who was sick and should have been off the road.  In my story I suggested hospitalization.

I didn’t think Grelun and perhaps Colonel Parker in 1977 had any real idea how ill and troubled Elvis was in the mid-seventies, although the well-kept secret in summer of 1977 was finally let out of the bag when Presley confident and bodyguard Red West published Elvis What Happened? His book based on intimate accounts of Elvis' former bodyguards detailed the singer’s medical condition and alleged drug-use.

Then, it slowly dawned on me, as 1977 unfolded, and the first wave of punk rock music and a number of original acts and unique singer/songwriters were emerging, that Elvis was basically a guy stuck doing cover versions, formulaic movies, and Las Vegas residencies, and wishing and hoping he could remedy his live act, even tour the world or really stretch out as an actor.

I was subsequently taken out to lunch at The Hollywood Ranch Market by a concerned Grelun Landon after my stories were published.

During 2007, I conducted an interview with Jerry Schilling, author with Chuck Crisafulli of the insightful book, Me and a Guy Named Elvis, published by Penguin/Gotham Books. Jerry was a longtime Presley insider and a trusted employee. 

“Something happens when Elvis got to be in front of a live audience. He decided to put a band together and do a month at the International Hotel in Las Vegas. I became involved in what was happening around him, even though I wasn’t working for him. RCA studio in Hollywood. Colonel Parker is never there for rehearsals or recordings.

“I watched a guy put a rock ‘n’ roll band together. That’s what he does. He started by picking James Burton. That’s where Elvis was a genius. That’s where he was the most underrated producer in musical history. Whether it be in the studio or putting the band together. Whether it was ‘I hear voices here,’ ‘play this line here.’ The guy was a great producer.

“The ’68 special inspired him but he was doing what he had not been able to do for years. He was doing his thing and he was doing it being able to choose the people he was able to do it with. Being able to choose what songs and not being told what has to be in the soundtrack. What he had to wear. He was out of prison, man.

“I remember being at Elvis’ house with a list that Joe, maybe Charlie Hodge a little bit, ‘here’s some of the musicians that people are suggesting.’ What do you think of this, this and this? Elvis pretty much picked and chose.  He knew who James Burton was. He knew who Ronnie (Tutt) was. Ronnie was the guy who did what DJ had come in and done. He could accentuate Elvis’ moves, but more importantly, when there were bigger name drummers in the audition, like Hal Blaine. I remember what Elvis told me and Joe. He would come over and we both thought he was gonna go for Hal Blaine. It was the obvious choice. And he said, ‘watch this guy’ (Ronnie). Elvis came over and he said, ‘I need one guy on stage that has my temperament. Ronnie Tutt. That’s why Ronnie Tutt has the job.’”

Paramahansa Yogananda, who was born Mukunda Lal Ghosh, (January 5, 1893-March 7, 1952), was an Indian Hindu monk, yogi and guru whose teachings of meditation and Kiya Yoga reached millions of people through his organization Self-Realization Fellowship. His teachings of yoga provided unity between Eastern and Western religions. During 1925 in Los Angeles, he established an international center for SRF.

Yogananda’s life story, Autobiography of a Yogi, was initially published in 1946, and expanded by him in subsequent editions. It’s been a perennial best seller having sold millions of copies, and translated into many languages.  George Harrison would give the book to friends and musical associates. 

In 1950, Yogananda held the first Self-Realization Fellowship World Convocation at the international headquarters in Los Angeles. He also dedicated the beautiful SRF Lake Shrine in Pacific Palisades, that has since become one of California's most prominent spiritual landmarks.

By the very late sixties, Elvis Presley was looking for a new spiritual and musical road map just before his memorable Elvis…’68 Comeback Special done at NBC studios. At this time Presley was now preparing for a life and a potential career renaissance.  Elvis, often with pals in town, or driving himself in Hollywood and Beverly Hills could on occasion be seen buying copies of the weekly underground newspaper The Los Angeles Free Press at the lip of the entrance to Laurel Canyon on Sunset Blvd. or with his entourage ordering food to go from Greenblatt’s Delicatessen. 

Elvis had visited Self-Realization Fellowship center on Sunset Blvd. near the Pacific Coast Highway in Southern California and devoured Autobiography of a Yogi from the movement’s founder, Paramahansa Yogananda. Presley and his wife Priscilla had a friendship with Daya Mata of the SRF retreat in the Mt. Washington area in East Hollywood.Sir Daya Mata, born Rachel Faye Wright, was President and spiritual head of SRF from 1955 to 2010.

In Elvis and Me: The True Story of the Love Between Priscilla Presley and the King of Rock N’ Roll, by Priscilla, with contributions from Sandra Harmon, Priscilla mentioned her husband’s fascination with spirituality. Elvis made several trips to the Mount Washington retreat for sessions with Daya Mata hoping to attain the highest form of meditation.

“As Elvis’ fascination with occult and metaphysical phenomena intensified, [his friend and hairdresser] Larry [Geller] introduced him to the Self-Realization Fellowship Center on Mount Washington, where he met Daya Mata, the head of the center,” Priscilla wrote. “She epitomized everything he was striving to be.” According to Priscilla, “Mata resembled Elvis’ mother, Gladys Presley.” Elvis would call her “Ma.”

“Elvis was a seeker,” described Jerry Schilling. “He did go to the Bodhi Tree (spiritual book store in West Hollywood that opened in July, 1970). There was a part of our group that did not like that. I was in the minority with Larry Geller. Elvis was open to show a spiritual and vulnerable side. He was into that. What I loved about it was that through his spiritual quest I got to know the man even deeper. We would go to SRF in Pacific Palisades and Mt. Washington in East Hollywood many times.”

Baz Luhrmann directed, co-produced, and wrote the screenplay for the acclaimed biographical drama, Elvis (2022), with Sam Bromell, Craig Pearce, and Jeremy Doner. Luhrmann emerged from the documentary world when he conceived and appeared in the television movie, Kids of the Cross (1983).

I did an interview with Baz in 2001 for Hits magazine (it was subsequently reprinted in 2014 for Baz Luhrmann Interviews, published by University of Mississippi Press, edited by Tim Ryan).

At the time, Luhrmann was promoting his theatrical feature, Moulin Rouge.

I asked him about the essential role of music soundtracks in films and documentaries.

“That’s why we’ve got audiences who clap and cheer at the songs in cinemas,” Luhrmann replied. “They are not cheering the projectionist. What they are doing is communing with everybody else in the room. Nothing is more powerful than that in doing music. If you can shackle music to story—I know it sounds dramatic, but if you can do that—you unleash an unstoppable force.”

During 2025, Luhrmann returned to the Elvis universe.

“We’ve found reels and reels of never-before-seen footage of Elvis on Tour [1972] and That’s the Way It Is [1970],” Luhrmann earlier posted on Instagram in October 2023. “Stay tuned.” He showed an accompanying video of a cardboard box with a Warner Bros. label that had “Elvis outtakes box” written on the side.

Luhrmann resurfaced in 2025 with his EPiC: Elvis Presley In Concert documentary, which premiered at the Toronto Film Festival on September 5.

In his director’s statement provided to me by Sony Music Vision, Luhrmann detailed his latest Elvis endeavor.

“During the making of Elvis, we went on a search for rumored unseen footage from the iconic 1970s concert films Elvis: That’s the Way It Is and Elvis on Tour that had reportedly been lost. My initial thought was that, if we could find it, we may be able to restore the unused footage and use it in our Elvis feature, starring Austin Butler. I had researchers go into the Warner Bros. film vaults buried in underground salt mines in Kansas and, to the astonishment of all, we uncovered sixty-nine boxes (fifty nine hours) of film negative that hadn’t been seen.

“In addition to this, Angie Marchese (VP of Archives and Exhibits, and curator at Graceland) was able to unearth some never-before-seen Super8 from the Graceland Archives. It has taken over two years to restore the footage to a quality that it has never been projected at previously.

“Whilst some of the negatives had been printed and used in previous productions, there were many ‘never before seen’ shots, sequences and performances; so, if portions of these cuts were out in the public realm, they were generally poor-quality bootlegs. The team had to meticulously restore sound from the many unconventional sources that were also unearthed.

“Throughout this incredibly detailed process, one of the great finds has been unheard recordings of Elvis talking about his life and his music: from the 1970 Vegas show, on tour in 1972, and even precious moments of the 1957 ‘gold jacket’ performance in Hawaii. I knew we could not pass up this opportunity. It was these discoveries that gave the inspiration for the new film.

“What if, instead of reduxing the previous works, we made a film that wasn't a documentary and wasn't a concert film?

“What if Elvis came to you in a dreamscape, almost like a cinematic poem, and sang to you and told you his story in a way in which you haven’t experienced before? And what if we were able to work with the likes of Peter Jackson and the team at Park Road Post Production and other high-end technicians, and bring this original footage to a quality [that made it possible] to be seen on the big screen in a way in which it could not have been realized until now? What if we took both known recordings of Elvis telling you about his life and could reconstitute his own personal voice at a sonic level never before heard?

“Sonically, what if we could both reconstitute and remix the original orchestrations, but at the same time imagine what he might do with his classic musical works through a contemporary prism? And what if in a world where Artificial Intelligence can make all sorts of illusions, the illusions were made from authentic and original material and restored with meticulous human craft? We asked the what-ifs and answered them in what we presented at the Toronto International Film Festival.”

At the 2025 premiere, Luhrmann explained to the festival audience that his film about Presley’s residency at the International Hotel from 1969 to 1976 was “not a documentary, not a concert, but ‘a tone poem.’”

Elvis may have left the building, but we’re still watching.

(Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble. 

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) is scheduled for early 2026 publication.     

Harvey Kubernik wrote the liner notes to CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

During 2006 Kubernik appeared at the special hearings by The Library of Congress in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 he lectured at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their Distinguished Speakers Series. Amidst 2023, Harvey spoke at The Grammy Museum in Los Angeles discussing director Martin Scorsese's The Last Waltz music documentary.

Harvey is featured in The Sound of Protest documentaryairing on the Apple TVOD TV broadcasting service. https://tv.apple.com › us › movie › the-sound-of-protest. Writer/director Siobhan Logue’s film also spotlights Smokey Robinson, Hozier, Skin (Skunk Anansie), Two-Tone's Jerry Dammers, Angélique Kidjo, Holly Johnson, David McAlmont, Rhiannon Giddens, and more).The post EPiC: Elvis Presley In Concert  first appeared on Music Connection Magazine.

The 23 biggest music business deals of 2025: From Taylor Swift to Tencent Music, Live Nation, and Chord.The biggest artist catalog related deal on this year's list is for the masters of Taylor Swift's first six albums, acquired by... Taylor Swift from Shamrock Capital
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Small Venues in Small Cities: A Playbook for Building CommunityIn this post, we offer strategies for live music venues, promoters, and festivals in smaller markets around how to strengthen and develop the local community rather than focus on growth.
The post Small Venues in Small Cities: A Playbook for Building Community appeared first on Hypebot.

Your Morning Coffee Podcast: Congress’ Radio Loophole, Spotify Wrapped, & Suno/UdioEpisode 279 of Jay Gilbert and Mike Etchart's podcast Your Morning Coffee: Weekly News for the New Music Business is available now.
The post Your Morning Coffee Podcast: Congress’ Radio Loophole, Spotify Wrapped, & Suno/Udio appeared first on Hypebot.

AllMusic's Best of 2025Each year, the AllMusic editors look back through the albums that made the biggest impact, broke new ground, and caught our ear. Pop, rap, jazz, blues, classical and more. We begin with our overall best-of list, and will explore a different genre each weekday until the new year.

GRAMMY Nominations 2025: Best Jazz Performance, Best Jazz Vocal AlbumThe 2025 GRAMMY nominations are here and we're going to help you to untangle it all right up until the big event, continuing with the Best Jazz Performance and Best Jazz Vocal Album categories.

Take a listen to the nominated performances and albums below--who do you think will win?

See the full list of nominees in every category here.

Best Jazz Performance

Noble RiseLakecia Benjamin Featuring Immanuel Wilkins & Mark Whitfield

Windows - LiveChick Corea, Christian McBride & Brian Blade

Peace Of Mind / Dreams Come TrueSamara Joy

FourMichael Mayo

All Stars Lead To You – LiveNicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold, Rachel Eckroth & Sam Weber

Best Jazz Vocal Album

ElementalDee Dee Bridgewater & Bill Charlap

We Insist 2025Terri Lyne Carrington & Christie Dashiell Featuring Weedie Braimah, Milena Casado, Morgan Guerin, Simon Moullier & Matthew Stevens

PortraitSamara Joy

FlyMichael Mayo

Live at Vic's Las VegasNicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold, Rachel Eckroth & Sam Weber

Samara Joy photo by David BazemoreThe post GRAMMY Nominations 2025: Best Jazz Performance, Best Jazz Vocal Album first appeared on Music Connection Magazine.

GRAMMY Nominations 2025: Best Spoken Word Poetry AlbumThe 2025 GRAMMY nominations are here and we're going to help you to untangle it all right up until the big event, continuing with the Best Spoken Word Poetry Album category.

Take a listen to the nominated albums below--who do you think will win?

See the full list of nominees in every category here.

A Hurricane in Heels: healed people don't act like that — partially recorded live @City Winery & other placesQueen Sheba

Black ShamanMarc Marcel

PagesOmari Hardwick & Anthony Hamilton

Saul Williams Meets Carlos Niño & Friends At TreepeopleSaul Williams, Carlos Niño & Friends

Words For Days Vol. 1Mad Skillz

Saul Williams & Carlos Niño photo by Sam LeeThe post GRAMMY Nominations 2025: Best Spoken Word Poetry Album first appeared on Music Connection Magazine.