Steven Tyler's Grammy Party at Hollywood PalladiumIconic Aerosmith frontman and former American Idol judge Steven Tyler hosted his 6th annual Grammy viewing party once again at the Hollywood Palladium benefiting his Janie’s Fund foundation. Previous locations have included Red and Raleigh studios and performances from Tyler, Aerosmith, the Black Crowes and more.  From the press release “The star-studded event will unite music A-listers, entertainment icons, and welcome more than 150 firefighters who have been at the forefront of combating the California wildfires to celebrate the biggest night in music. The evening will benefit Janie’s Fund, as well as support both the Los Angeles Fire Department Foundation and the Widows, Orphans, and Disabled Firefighters Fund by raising critical funds to help meet the immediate needs for lifesaving equipment and resources.”

The event took place on Grammy Sunday (2/2) and before the viewing party kicked off a red carpet of musicians, celebrities and Janie’s Fund girls and board members walked down leading into the Palladium entrance. Appearing on the carpet was none other than Tyler himself and members of his all-star band that evening including former Guns N’ Roses drummer Matt Sorum, Extreme guitarist Nuno Bettencourt, Megadeth bassist James LoMenzo, current John Waite guitarist Brent Wood, Aerosmith keyboardist Buck Johnson as well as special guests Fleetwood Mac’s co-founder and drummer Mick Fleetwood, Joan Jett and Blackhearts’ guitarist Dougie Needles and co-founder/keyboardist Kenny Laguna, Black Crowes frontman Chris Robinson. Also on the carpet was the evening’s host, comedian Tiffany Haddish, song-writer Desmond Child, actor/musician Corey Feldman, artists Jaden Hossler, Sully Erna (Godsmack), David Archuletta, Gavin DeGraw, and actresses Bo Derek and Paris Jackson, radio host Eddie Trunk, Kill Devil Hill frontman Dewey Bragg and Mia Tyler and Counting Cars star Danny 'Count' Koker. Members of the L.A. Fire Department were on the carpet as well and the event's annual pre-show performers The London Essentials. From the Youth Villages team CEO Patrick Lawler, Chief Development Officer Richard Shaw (also Janie’s Fund), and Chairman Mike Bruns were there, and Janie’s Fund Executive Council member Edie Allen. Following the Grammy Awards telecast, Tyler performed for the first time since Aerosmith announced their retirement and a reunion with Aerosmith bassist Tom Hamilton. Other performances and guests included Jett, Billy Idol, Marcus King, Lainey Wilson, and Linda Perry. Fleetwood Mac’s Lindsey Buckingham, Korn’s Munky were also in attendance. About Janie’s Fund“Janie’s Fund is a philanthropic initiative created by Steven Tyler in partnership with one of America’s most effective nonprofits, Youth Villages. Named after Aerosmith’s 1989 hit, “Janie’s Got a Gun,” which tells the story of a young girl who was abused by her father, Janie’s Fund provides hope and healing for many of our country’s most vulnerable girls who have survived the trauma of abuse and neglect. Through Janie’s Fund, Tyler is using his big voice to give a voice to thousands of victims who haven’t had one. For more information, visit JaniesFund.org. For more about Steven Tyler, including his bio, visit StevenTyler.com.”Setlist:Walk This Way (Aerosmith)- Tyler, Hamilton, and Robinson.Immigrant Song (Led Zeppelin)- Linda PerryWhat's Up? (4 Non Blondes)- Perry Proud Mary (CCR)- Marcus KingDancing with Myself- Billy Idol & Steve StevensRebel Yell (Billy Idol)- Idol & StevensI Hate Myself (For Loving You)- Joan Jett, Dougie Needles, Kenny LagunaCherry Bomb (Runaways)- Jett, Needles, LagunaBad Reputation- Jett, Needles, LagunaMore Than Words (Extreme)- Steven Tyler, Mick Fleetwood (percussion), and Nuno BettencourtToys in the Attic (Aerosmith)- Steven TylerDream On (Aerosmith)- Lainey Wilson and TylerSweet Emotion (Aerosmith), Tyler, Tom Hamilton, and Chris RobinsonThe post Steven Tyler's Grammy Party at Hollywood Palladium first appeared on Music Connection Magazine.

From the ‘fair use’ win for Reuters to ByteDance building an AI music beast… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
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Non-Music AI for Musicians and Industry ProfessionalsSo much has been written about using AI to make music that it's easy to forget that non-music AI has other uses that can make the lives of musicians and industry professionals more productive.
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TikTok app is back in Apple, Google Play download storesThe TikTok app is back in Apple, Google Play and other download stores. The app was removed on January 19th after a law banning the app went into effect.
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Music Business Worldwide launches The MBW Database, a vital new resource for the music industry (and its investors)New site offers over 150 charts, built from more than 2,500 data points. It will be constantly updated.
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Range Music Publishing Announces New SigningsOn the heels of a massive first year with five chart-topping hits across multiple radio formats, Range Music Publishing kicks off 2025 by adding writers/producers Darius Coleman, Alex Goose, James Maddocks and Simon Oscroft to its diverse roster.
Coleman, signed in partnership with Tommy Brown and Champagne Therapy Music Group, has worked with an impressive array of artists, including Normani, Chris Brown, Renee Rapp, DJ Khaled and Coco Jones. He co-wrote "You See Me" from The Color Purple soundtrack, which was nominated for Best Compilation Soundtrack for Visual Media at the 67th Grammy Awards.
Los Angeles-based producer/songwriter Alex Goose has collaborated with Childish Gambino, Vince Staples, Brockhampton, Aaron Frazer, Adrian Quesada (Black Pumas), Freddie Gibbs, and Kevin Gates. He’s also composed original music for global brands such as Nike, Apple, Samsung, Google, and Target and produced the iconic Ghostbusterstheme for the 2016 soundtrack Ghostbusters (Answer the Call).
Maddocks, signed in partnership with Charlie Handsome, is known for his versatility across country, hip-hop and R&B. Recent successes include co-writing Morgan Wallen’s No. 1 country radio hit “Cowgirls” (feat. ERNEST) and collaborating with artists such as Post Malone, Khalid, Lil Baby and H.E.R.
Simon Oscroft, signed in partnership with Baxter House, is a songwriter from New Zealand now based in Los Angeles. He’s a long-term close collaborator with Almost Monday and co-wrote and produced their current #1 Alternative hit, “Can’t Slow Down.” Other cuts include songs with Pale Waves, The Aces and OneRepublic.
Casey Robison, Head of Range Music Publishing, says, “We’re excited to introduce the latest additions to Range Publishing. These exceptional writers bring remarkable talent, creativity, and expertise, further elevating our roster. Their contributions will play a vital role in our continued growth as we build on the momentum of our first year.”
In its first year of operation, Range Music Publishing celebrated five chart-topping hits across multiple radio formats. Notably, Shaboozey’s “Bar Song (Tipsy),” co-written by client Sean Cook and co-signed with Warner Chappell, reached #1 across Top 40, Country, Hot AC, Rhythmic charts and tied “Old Town Road” as the longest-running number-one song of all time on the Billboard Hot 100, marking Shaboozey as a breakout star.
Beyond Cook’s work on “A Bar Song (Tipsy)” and Paul Russell’s “Lil Boo Thang,” Range has also found success with Geoff Warburton (Tyler Hubbard’s “Back Then Right Now,” Luke Bryan’s “But I Got a Beer in My Hand”, co-signed by Big Machine) and Tyler Dopps (#1 Dance radio hit “Young & Foolish” by Loud Luxury featuring Charlieonnafriday).
Last year, Range Music Publishing inked an exclusive, global administration deal with Universal Music Publishing Group (UMPG), the global music publishing division of Universal Music Group. The new agreement expanded on Range Media Partners’ existing relationships with Universal Music Group’s Capitol Music Group and Virgin Music Group.
Range Music represents a wide range of talent including Jack Harlow, Shaboozey, Tanya Tucker, Cordae, Pentatonix, Saweetie, Midland, PARTYNEXTDOOR, Lauv, Dylan Gossett, MAX, Bazzi, Sean Douglas, Paul Russell, Wondagurl, Russell Dickerson, Coi Leray and more. The publishing division is supported by Range Music’s entire partnership, which includes Matt Graham, Jack Minihan, Tyler Henry, Melissa Ruderman, Chris Thomas, Evan Winiker, Cory Litwin, Shawn McSpadden, Rachel Douglas and Jared Cotter.
Range Media Partners is one of the most disruptive new representation businesses in entertainment, with a foothold in the music, film, television, production, comedy and sports industries, as well as offices in Los Angeles, New York, London, and Nashville.The post Range Music Publishing Announces New Signings first appeared on Music Connection Magazine.

‘Banned’ TikTok still outperforms YouTube, Facebook in U.S.TikTok outperforms YouTube and Facebook in the US in January, according to a new report from Guggenheim Partners and Apptopia. Unofficial app stores are seeing up to 2000 TikTok downloads per hour.
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Streaming is losing steam. It’s time to reimagine music’s futureStreaming was supposed to save the music industry, but it's leaving artists behind. As streaming is losing steam, it’s time to rethink the model and put creators back at the center of their own success, writes Alexandre Saboundjian, the CEO of Winamp.
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Bittersweet Symphonies: AllMusic's Love Songs for the LovelornAnother Valentine's Day is upon us, and our hearts go out to the wistful and wishing among us. Our editors pulled together some of their personal favorite swoon-worthy songs and albums to give the day that extra bit of bittersweet hum.

ByteDance has been building an AI music beast… with a little help from The Beatles and Michael JacksonByteDance is fascinated with building music AI technologies...
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Songwriters: Are you Getting Paid All the Mechanical Royalties You Should be? Navigating the world of digital music royalties can be tricky, but understanding how they work is essential for songwriters. The Mechanical Licensing Collective (The MLC) plays a key role in ensuring songwriters are paid the digital mechanical royalties (also known as streaming royalties) they deserve. Here’s a breakdown of what The MLC is and why it’s so important for you.What is The MLC?  The MLC is a nonprofit organization that is transforming the way songwriters, publishers, and other rightsholders are paid for their music that is streamed and downloaded on digital platforms like Apple Music and Spotify in the United States. Every month, The MLC collects streaming data and royalties from these platforms, matches the payments to the creators who earned them, and distributes the mechanical royalties to songwriters, publishers, and administrators.The MLC is dedicated to ensuring that songwriters, composers, lyricists, and music publishers receive their digital mechanical royalties accurately and on time. To date, The MLC has distributed over $2.5 billion in royalties and serves more than 50,000 members.Who Should Join The MLC?If you are entitled to receive digital audio mechanical royalties in the U.S. — whether you’re a self-administered songwriter, composer, lyricist, music publisher, or administrator — you need to become a member of The MLC. But what does it mean to be a self-administered songwriter? Let’s explain.A self-administered songwriter is someone who acts as their own music publisher for the works they’ve created.Here’s the breakdown:Fully Self-Administered Songwriters: These creators handle all aspects of registration, licensing, and collecting royalties for their works on their own.

Partially Self-Administered Songwriters: These creators manage some of their works themselves but have partnered with a publisher or administrator for the remaining works, that they have entered into a legal agreement with. By joining The MLC, you ensure that you receive all the mechanical royalties you’re owed. Best of all, membership is absolutely FREE. Need More Information?The MLC understands that navigating the process of collecting various types of royalties can be complex, especially if you don’t have a publisher or administrator. The MLC is here to help with a step-by-step guide for songwriters, composers, and lyricists to ensure you’re receiving all of your publishing royalties. Click here for our to-do list!  For more details on how to join The MLC, click here. You can gain additional answers and insights about The MLC by visiting the FAQ page.   The post Songwriters: Are you Getting Paid All the Mechanical Royalties You Should be?  first appeared on Music Connection Magazine.

Harvard Business Review explores Taylor Swift’s ‘Strategic Genius’A new book from Harvard Business Review Press will dive deep into how Taylor Swift built her global global empire. "There’s Nothing Like This" explores Taylor Swift’s 'strategic genius', the strategies behind her record-breaking success, and how others can learn from her journey.
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NEW: Live Music News from across the webHypebot has added a Live Industry News tab to the top of the home page that links to a new curated feed of live music industry news from hundreds of global news sources.
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Every human #Musician and #Producer must have their own watermark/fingerprint printed to a complete track they produce. Ideally, it should be located in inaudible spectrum and every person should register this personal code in some #Opensource international music database. And the trace must be dynamic not static, and devices should read it too. I think this can solve most of problems of #AI (as a good tool) and copyrights issues in the #MusicIndustry. Probably, this is where #Technology and #musictech should focus more. There are several technologies already available for music distributors and big broadcast players around

The Quiet Riot Song That Sounded Like Def Leppard's Hysteria…a Year EarlierAuthor and AllMusic contributor Greg Prato offers an insightful excerpt from his new book "Bang Your Head, Feel the Noize: The Quiet Riot Story" examining the album that presaged the electronic influences Def Leppard would implement with huge success on their next record.