Listeners, this is Lenny Vaughn, digging through today’s crates so you don’t have to.
The biggest industry move in the last day comes from The Weeknd, who has finalized what New Industry Focus calls a “unique” catalog deal with Lyric Capital, with sources valuing it around the billion‑dollar mark, a new high‑water line in the market for modern pop catalogs. New Industry Focus also reports HYBE has struck a new management partnership to support African talent across its global network, signaling a fresh push to plug Afro-pop and emerging African scenes into K-pop scale infrastructure, while Rosé of Blackpink has signed with WME for global representation ahead of expanded solo touring, further cementing K-pop’s solo‑star era. In the classical lanes, Symphony.live has been acquired by Acoustics Space, a move the same outlet says is aimed at raising the standard for classical streaming and live performance capture online.
On the business and policy side, Live Nation is calling for changes to what it describes, via New Industry Focus, as “punitive” UK visa rules, warning that current requirements could keep international artists off British stages and shrink the touring ecosystem just as live music has fully rebounded. Digital Music News, via EIN’s industry wire, notes a fresh round of label and agency moves at Warner, CAA, UMG UK, Believe and others, keeping the corporate carousel spinning as A&R and touring arms jockey for 2026.
In artist news with emotional weight, CNN via KYMA and EIN’s Nelly Furtado newswire relay that Nelly Furtado has told listeners she is stepping away from performing, with no clear indication she’ll return to the stage, choosing instead to pursue other creative paths after a multi‑decade pop run. Meanwhile, forum chatter on the Rolling Stones fan site IORR suggests the rumored 2026 “Final Bows” tour is off, with longtime followers there reflecting that at this stage the band “owes us nothing but the memories,” and speculating that any future activity may be limited to small, solo‑leaning appearances rather than full‑scale stadium marathons.
On the charts and release front, the ARIA singles chart for this week has Olivia Dean’s Man I Need sitting at number one in Australia, with accompanying ARIA charts news celebrating her as one of the year’s defining breakout voices, while Kendrick Lamar’s GNX holds the top spot on ARIA’s vinyl albums chart, reminding everyone that hip‑hop still lives loud on wax. On the country side, Country Swag reports Riley Green and Ella Langley have taken their duet Don’t Mind If I Do to number one at country radio, and the same outlet is already tipping rising traditionalist Spencer Hatcher, whose EP Honky Tonk Hideaway and the single When She Calls Me Cowboy are building serious momentum heading into an album cycle.
Around the culture edges, Eddie Trunk’s platform is hosting a fiery Gene Simmons interview where he warns that overreliance on AI will make the world “dumber,” keeping the debate over machine‑made music and authenticity very much alive. And Kerrang’s look back at 2025’s defining rock moments underlines just how loud Turnstile’s year has been, with their Turnstile Summer run and recent tiny‑room show in Huddersfield setting the stage for a highly anticipated third album.
From billion‑dollar catalogs to tiny punk rooms, from ARIA vinyl charts to country radio peaks, that’s the last 24 hours in music as heard through a needle, not a scroll.
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