Adele and Japanese Breakfast named on the ‘Time 100’ list for 2022

Adele and Japanese Breakfast have both been named on Time‘s 2022 list of the 100 most influential people in the world.

The news magazine’s annual list spotlights the “pioneers, leaders, titans, artists, innovators and icons” of the past year.

Adele is listed under the ‘icons’ category alongside Jon Batiste, Keanu Reeves and Mary J. Blige, with Late Late Show host James Corden writing in support of the singer’s entry.


Japanese Breakfast, AKA Michelle Zauner, is celebrated as an ‘innovator’ along with Zendaya, Taika Waititi and Miranda Lambert.

Questlove, Jazmine Sullivan, Oprah Winfrey, Issa Rae and Quinta Brunson are also named on the Time 100 list for 2022. You can check out the full list here.

Adele performs on stage during The BRIT Awards 2022 at The O2 Arena on February 08, 2022 in London (Picture: Gareth Cattermole/Getty Images)

Posting on her social media channels earlier this month to celebrate her 34th birthday, Adele told her fans that she’s “never been happier”.

“If time keeps healing and smoothing out all the creases in my life like it does as the years fly by, then I can’t wait to be 60!” she wrote. “I’ve never been happier!

“So many lessons, so many blessings to be grateful for. This is 34, and I love it here! Thank you for the birthday love as always.”


Japanese Breakfast, meanwhile, made her Saturday Night Live debut last weekend where she performed ‘Be Sweet’ and ‘Paprika’.

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Nick Cave thanks fans for their support after death of his son Jethro

Nick Cave has sent a thank-you note to his fans in the wake of his son’s death.

Jethro Lazenby died aged 31 earlier this month, with Cave issuing in a statement to NME: “We would be grateful for family privacy at this time.”

A fan has now written to Cave, as featured on the artist’s The Red Hand Files blog, saying that they were sending “collective love” on behalf of all his fans amid the recent tragedy.

“I have no question for you today,” Teresa from Australia wrote. “I just wanted to send my heartfelt condolences on the tragic loss of Jethro. All I can do is offer the collective love of all who read your letters. Much love to you and all your family.”

Cave responded: “Dear Teresa. Thank you for your letter. Many others have written to me about Jethro, sending condolences and kind words. These letters are a great source of comfort and I’d like to thank all of you for your support.”

Nick Cave in 'This Much I Know To Be True'. Credit: Still/Press
Nick Cave in ‘This Much I Know To Be True’. Credit: Still/Press

He concluded the response to say that he would return to writing on his blog in a few weeks’ time.

Cave lost another son, Arthur, 15, in 2015 after he fell to his death from a cliff in Brighton.

Jethro was born in Melbourne in 1991 and only learned that Cave was his father when he was eight years old. He became a model after being scouted while in the city, but also tried his hand at acting, with roles in 2007’s Corroboree and 2011’s My Little Princess. He also worked more recently as a photographer.

Following the news of Jethro’s passing, Nick’s wife Susie shared a picture of Jethro on Instagram with the caption “Darling Jethro”.

Cave has previously spoken about how he coped with loss in the years following his son Arthur’s death. In a December 2019 edition of The Red Hand Files, the Bad Seeds musician responded to two fans who both contacted the singer after recently suffering the loss of a child.

“Susie [Cave’s wife] and I have learned much about the nature of grief over recent years. We have come to see that grief is not something you pass through, as there is no other side,” he wrote in 2020.

Jethro Lazenby
Jethro Lazenby – CREDIT: Getty

He continued: “For us, grief became a way of life, an approach to living, where we learned to yield to the uncertainty of the world, whilst maintaining a stance of defiance to its indifference. We surrendered to something over which we had no control, but which we refused to take lying down.

“Grief became both an act of submission and of resistance — a place of acute vulnerability where, over time, we developed a heightened sense of the brittleness of existence. Eventually, this awareness of life’s fragility led us back to the world, transformed.”

Meanwhile, Andrew Dominik, director of the new film This Much I Know To Be True, has spoken to NME about how the movie depicts how far Cave has come in his journey of processing grief.

This Much I Know To Be True, which was in cinemas for one night only on May 11, is a documentary-meets-performance film that centres on the creative relationship between Cave and his Bad Seeds bandmate and longtime collaborator Warren Ellis, and looks at the creation of their most recent albums ‘Ghosteen‘ and ‘CARNAGE‘.

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Travis Scott faces new claims of negligence over stampede at 2019 Rolling Loud festival

Artist News Legal Live Business Top Stories

By | Published on Tuesday 24 May 2022

Travis Scott

A rep for Travis Scott has hit out at allegations made against the rapper in a new legal filing in relation to a stampede that occurred at the 2019 edition of the Rolling Loud festival in Miami. That rep insists that the allegations are a “blatant, cynical attempt to attack Travis” as he faces legal action in relation to the fatal crowd surge at last year’s Astroworld event. Not only that, they add, but the new claims totally misrepresent what happened at Rolling Loud in 2019.

Marchelle Love first sued various companies involved in the Rolling Loud festival back in 2020. She claimed that she suffered severe injuries as a result of a stampede that occurred during Scott’s set at the festival in May 2019, which – she alleged – was the result of negligence on the part of the event’s organisers and the companies involved in planning and delivering its security.

A revised version of that lawsuit filed with the courts earlier this month makes a number of specific allegations against Scott himself.

Those new allegations come as the rapper fights hundreds of lawsuits in relation to the 2021 edition of the Houston festival he founded, Astroworld. Ten people died and hundreds more were injured as a result of a crowd surge that occurred during his headline set at that event.

The Astroworld tragedy put Scott’s live shows very much in the spotlight, with allegations that the rapper had a long history of encouraging his fans to behave in a reckless and dangerous way during his concerts, resulting in fans getting injured and various previous legal woes for Scott himself.

In her sixth amended complaint in relation to Rolling Loud 2019, Love focuses in some detail on Scott’s alleged role in causing the stampede in which she was injured.

“Shortly after Travis Scott’s performance commenced, police officers rushed to the backstage area to request that Travis Scott stop his performance due to the crowd becoming dangerous and uncontrollable”, the new filing claims. “The intervention by local police resulted in Travis Scott being required to stop his performance due to the crowd becoming uncontrollable”.

But, she then alleges, when Scott’s set resumed, he “continued to verbally and physically incite the crowd to engage in a mosh pit and other hazardous activities”, despite “his being ordered by the authorities to cease his continued incitement of the crowd”.

“As a direct and proximate result”, the legal filing continues, “the crowd once again broke into a panic and multiple stampedes broke through the 2019 Rolling Loud Festival during Travis Scott’s performance. Despite the fact that Travis Scott was aware of and could clearly see concertgoers being injured, suffocating, losing consciousness, fighting, and being trampled, he continued his performance while authorities were forced to attempt to render aid to these injured concertgoers”.

“At all times material it was foreseeable that Travis Scott’s refusal to comply with the directives of law enforcement and continued incitement of the crowd would result in foreseeable injury to concertgoers including the plaintiff”, it adds, “and further constituted a breach of his duty to refrain from conduct which would incite the crowd to violence, panic, and to otherwise refrain from behaving in a manner in which would create an unreasonable risk of foreseeable injury”.

The lawsuit also notes that there had been crowd control issues at earlier points during the festival, in particular on the day before Scott’s performance when false rumours to the effect that there was an active shooter on site caused panic among the audience.

In Love’s lawsuit, she argues that this should have made Scott extra cautious about encouraging his fans to act in a reckless way. Although in their response, Scott’s reps counter that it was similar false rumours spreading around the festival site – rather than anything happening on stage during the rapper’s headline set – that caused the unrest in which Love was injured.

Responding to the latest version of Love’s lawsuit, Scott’s rep told TMZ: “This is another blatant, cynical attempt to attack Travis, in this instance for a three year old incident that is deliberately misrepresented”.

“As even the complaint makes clear, this incident was related to a false report of a shooting mid-show, completely unrelated to Travis’s performance. The video shows police were informing Travis that the show was stopped for that reason – because of the false report – and he fully cooperated”.

“This cheap opportunism is based on a blatant lie that’s easy to detect”, the rep added. “And it is particularly telling that this plaintiff’s lawyer didn’t even assert a claim against Travis when he originally filed the complaint on behalf of his client more than two years ago or in four prior versions of that complaint”.


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Warner Music invests in Polish live music firm

Business News Deals Labels & Publishers Live Business

By | Published on Tuesday 24 May 2022

Warner Music

Warner Music Poland has taken a stake in one of the country’s leading live music companies, concert and festival promoter Big Idea, which is very much focused on the burgeoning Polish hip hop scene.

The deal will result in a number of partnerships between the two companies, including the launch of new festival brands, the expansion of Big Idea’s merchandise business, and the minting of some NFTs around shows promoted by Big Idea because, well, you know, that’s a thing now, innit?

Generally speaking the major music rights companies have never got massively involved in the live side of the music business – even in the 2000s when the record industry was slumping and live was booming – while the big players in the live sector have generally avoided getting too involved in recordings and music publishing.

However, that’s not to say there hasn’t been plenty of dabbling along the way, and the majors do sometimes invest in or acquire live music businesses in certain markets, like Warner has done here.

Given both labels and promoters do sometimes get involved in the merchandise and brand partnership activities of the artists they work with, there is a definite crossover, and so investments in live music companies by the majors can result in some interesting collaborations between the two sides of the business.

Although, that said, often when the majors get involved in live music, those live divisions end up operating quite autonomously, meaning there are fewer label/promoter collaborations than you might expect. But maybe joining up around some NFT nonsense is the way to get long lasting collaborations between labels and promoters off the ground.

“We’re always looking to do more for our artists and this deal will enable us to do just that”, says Warner Music Poland MD Adrian Ciepichał. “We’re going to collaborate with Big Idea to pour rocket fuel on the success of individual artists and grow the wider local hip-hop scene. I’m looking forward to welcoming new artists to our local roster and helping them find a wider audience in Poland and internationally”.

Adds Big Idea CEO Sławek Ostruszka: “This partnership will help accelerate the growth of Big Idea and benefit the whole hip hop community in Poland. Fans will be able to enjoy even bigger, better shows and more artists will get the opportunity to make a huge impact with fans. As live music emerges from the shadow of the pandemic, this feels like the right time to go for growth”.


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Brian Higgins signs to Dopamine

Business News Deals Labels & Publishers

By | Published on Tuesday 24 May 2022

Brian Higgins signs to Peermusic

Peermusic has signed songwriter and producer Brian Higgins – best known as part of pop making powerhouse Xenomania – to a global publishing deal, covering his future works.

“I’m delighted to be back working with Brian again”, says Peermusic UK’s Head Of A&R Mike Sault. He signed Higgins to Warner Chappell back in 1997, you see.

“Having someone as influential, innovative and prolific as Brian joining us at Peermusic is a complete honour. He’s the epitome of what a great songwriter should be, and without doubt one of the best writers/producers of his generation, behind some of the greatest moments in UK pop over the last 20 years or so. Most importantly the new music is incredible, and so here’s to the next chapter which we’re super excited for”.

Higgins himself says: “I’m incredibly grateful to have the opportunity to work with Nigel [Elderton, UK MD], Mike and the rest of the wonderful Peermusic team. As I continue moving forward with new projects it’s important that I have a collaborative and supportive team at my side, and I know this new partnership with Peermusic will be just that”.

The full list of artists Higgins has worked with is far too long to include here, but includes Cher, Kylie Minogue, The Sugababes, Girls Aloud, The Saturdays, Bananarama, Pet Shop Boys, Saint Etienne and Sophie Ellis-Bextor.

His latest effort – and the first song released under his Peermusic deal – is ‘Delete It’ by Dopamine:

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