Two of Ibiza’s Biggest Music Venues Just Canceled Their 2020 Seasons. Will More Be Next?

In what may be a sign of things to come for one of the globe’s leading dance music destinations, two of Ibiza’s marquee live music venues have announced that they will not open for the 2020 season.

In a statement posted to social media today (June 17), both Hï Ibiza and Ushuaïa announced that “following the news from the Balearic Government that no clubs will be allowed to open in Ibiza this season, it is with a heavy heart that we announce that there will be no events at both Hï Ibiza and Ushuaia this summer.” Read the complete statement below.

Although an official announcement has not been made by the Balearic government, there are indications — including a report in local Ibiza newspaper El Diario – that officials will vote to shutter indoor nightclubs for the remainder of 2020 due to the coronavirus pandemic, or enact capacity restrictions that club owners do not consider economically feasible. An official vote is expected tomorrow (June 18) in Palma, the capital of Mallorca.

Myriad contingency plans have been proposed to make it possible for club owners to open for the season. Suggestions include dramatically decreased capacity, sanitary precautions and different layouts requiring clubbers to be seated at tables. But according to José Luis Benitez, the director of institutional relations at Palladium Hotel Group, which owns Ushuaïa Ibiza Beach Hotel, “social distance cannot be assured, and it has been shown that this is a problem with the virus, and our priority is health.”

The news is the latest development in a tumultuous time for the island, with Spanish state and national governments offering conflicting COVID-19 response regulations. As Billboard reported earlier this month, Spain’s national government said on June 6 that nightclubs could reopen with up to 30% capacity in cities that meet the health cut off. A day later, the Balearic government said nightclubs would remain closed in Ibiza, a key spot for summer clubbing tourism, especially for electronic dance music.

This latest development affects only indoor clubs on the island. Day clubs in hotels and beach bars — which typically operate to midnight — were allowed to open on June 8 at 75% capacity. Ibiza Rocks, which caters primarily to U.K. clubbers, is still planning to restart its pool parties on July 1 — albeit at 40% capacity, and with only local DJs for at least the first month.

The decision by Ushuaïa and Hï was long anticipated, since the clubs are among the larger venues on the island (with 4,000 and 5,000-person capacities, respectively) and host summer residencies for top talent like Calvin Harris and David Guetta, as well as Latin stars like Bad Bunny. While the situation seemed more uncertain for Hï, a nightclub, Ushuaïa, which is open-air, could have opened at reduced capacity as Ibiza Rocks is planning. But sources tell Billboard that the owners have deep pockets and preferred to wait out the summer and regroup for 2021.

Palladium Hotel Group, controlled by Spanish billionaire Abel Matutes, owns 50 hotels in six countries and controls substantial real estate on the island, including Hard Rock Hotel Ibiza. Matutes, through other entities, also owns Hï and Privilege, the largest nightclub on Ibiza with a capacity of 10,000.

 

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“Mamacita” Hits No. 1 on Latin Airplay Chart for The Black Eyed Peas, Ozuna & J.Rey Soul

Black Eyed Peas, Ozuna & J.Rey Soul’s “Mamacita” hits No. 1 on the Latin Airplay chart as the song rises 3-1 on the June 20-dated survey.

With “Mamacita” landing atop the chart, the Black Eyed Peas claim their second No. 1, Ozuna his 19th and J.Rey Soul her first.

Madonna, meanwhile, gets her first leader as a songwriter on the Latin Airplay chart as “Mamacita” samples her 1987 hit “La Isla Bonita,” a former Billboard Hot 100 top 5, which she co-wrote.

“Mamacita” advances with 9.8 million in audience impressions (up 19%) earned in the week ending June 14, according to Nielsen Music/MRC Data. It dethrones Bad Bunny’s “Yo Perreo Sola’s” two-week reign.

Beyond its coronation on Latin Airplay, “Mamacita” also tops the Latin Rhythm Airplay chart for the first time.

Elsewhere, the collaborative effort also sees improvement on the Hot Latin Songs chart, which blends airplay, digital sales and streaming data, hiking 9-3 and snatching the Greatest Gainer/ Airplay trophy.

Meanwhile. “Mamacita” makes its all-genre Billboard Hot 100 debut, arriving at No. 90. It’s the second chart appearance for the Black Eyed Peas in 2020, who previously claimed their 17th entry with “RITMO (Bad Boys For Life),” with J Balvin (No. 24, April 4-dated list.) Prior to “Ritmo” the quartet visited the tally in August 2011 with “Don’t Stop The Party.”

 

Gloria Estefan Returns With Love: Over on the Tropical Airplay chart, Gloria Estefan bows at No. 25 with “Cuando Hay Amor.” It’s the lead single off her forthcoming 13th album Brazil305, her first in over seven years.

“Cuando Hay Amor” was released June 12 via Sony Music Latin. It arrives on the chart with only three days of tracking activity and earns Estefan her 20th entry on Tropical Airplay. She last visited the chart with “Hotel Nacional” which debuted at No. 1 in January 2012.

The new song was produced by Emilio Estefan, Nicolás Tovar and Andrea López and is one of four unreleased songs to be featured on the album.

 

Saweetie Talks ‘Tap In,’ ‘Pretty B*tch Music’ & Shows Off Her Favorite Music Video Looks

Saweetie’s highly anticipated new project, Pretty B*tch Music, is on the way, and hours after she asked fans if she should drop her “Tap In” video, it arrived on Wednesday (June 17).

The ICY girl discussed her new project on Billboard’s “First Stream” IGTV series, getting candid with viewers while eating some lunch. “I’m really excited for this, because for all of my other projects, it was only like six or seven songs, but for this one, it’s like 15 and more,” she explained. “I feel like it’s just more personal, in the sense of, maybe I show my personality more. I’m more comfortable and you can hear it in my voice.”

For “Tap In” in particular, Saweetie says the music video “is a bomb.”

“There’s choreo, the looks are crazy. My glam is just real cute,” she noted.

The star then took us behind the scenes of a secret music video she was filming in a Los Angeles mansion, revealing that it will be dropping on her birthday (July 2). Dressed in a sleek white crop top, grey sweatpants and pink and blue slippers, Saweetie explained that for her everyday looks, “I like cute and I like comfy.”

That theme also transpired into her outfits for the video, the last of which featured Nike Air Jordan 1s, baggy jeans and a loose black graphic tee. “This is high school Saweetie. This is how I dressed in high school. Just super tomboy, baggy pants, baggy this. My kicks weren’t that good then, but you get the picture.”

And let’s not forget her iconic claw-like nails, which she opted for in a blinged-out fire engine red. “Your girl just really loves switching her nail color. A girl should always have options, especially when it comes to nails,” she proclaimed.

Watch the full “First Stream” clip below.

Live Nation Plans to Reduce Payments, Shift Risk to Artists for 2021 Festivals

The COVID-19 crisis has grounded the live music business to a halt, slowing the momentum of a rising new generation of headliners and costing leading concert promoter Live Nation billions in losses. But the pandemic has also created a rare opportunity for the company to push through long-term changes to how it compensates artists who play festivals like Lollapalooza, Austin City Limits and Bottle Rock.

“We are in unprecedented times and must adequately account for the shift in market demand,” an unnamed company officials said in a memo sent to talent agencies last week. Now Live Nation is aiming to renegotiate the terms for thousands of shows postponed to 2021, including more than 100 festivals around the world. The changes could mean a fundamental change in the business model, shifting substantially more risk to agents and artists while potentially leveling the playing field for independent promoters and festival owners as they struggle to recover.

“In order for us to move forward, we must make certain changes to our agreements with the artists,” the memo continues. That includes across the board pay cuts “adjusted downward 20% from 2020 levels,” as well as addressing industry practices around cancellations with changes that could save the promoter tens of millions of dollars a year.

If a festival “is cancelled due to poor ticket sales, the artist will receive 25% of the guarantee,” the more reads. This would mark a dramatic decrease from the current requirement that promoters pay 100% of an artist fee if a show gets cancelled. On the flip side, if an artist cancels their appearance at a festival and is found to be in breach of the agreement, “the artist will pay the promoter two times the artist’s fee.”

This type of cancellation penalty is unprecedented in live music and would make the concert business far less risky for promoters, potentially creating a more level balance of power between promoters and talent. One independent promoter who has seen the memo tells Billboard artists currently face virtually no consequences if they cancel a headline slot at a festival, regardless of the long-term effects such a last minute cancellation can have on a a festival brand.

“But if I have to cancel my festival, for whatever reason, I am expected to pay artists in full even if they didn’t help me sell a single ticket, and that’s not fair” the independent promoter says. Reducing the burden on promoters for canceled festivals by 75% — as the Live Nation memo states — would mean significant savings. And while agents and managers have been expecting this type of demand from promoters, they warn that the change could bring with it unintended consequences, like artists avoiding newer festivals or agents demanding a role in choosing the lineup to mitigate risks.

“It wasn’t unexpected,” says Christian Coffey, tour director for Coffey Black which works with artists like Run the Jewels, ASAP Rocky and Childish Gambino. “Everyone has lost money this year — and that includes Live Nation and every other promoter. Those losses were going to change how business was done and I think everyone was waiting to see it on paper.”

AEG is also seizing the moment, issuing its own memo last month to clubs and theaters that book shows from AEG Presents, warning “all deals in 2020 will be renegotiated regardless if they went on sale before the start of the crisis.” For shows with less than 90% of tickets sold, the money an artist was guaranteed to receive will be reduced “25% to 50% of original all-in guarantee based on sales before postponement.”

Several agents who have seen both memos say they view the new contract points as a starting point for discussions for booking 2021, but understand all stakeholders should at least expect a reduction in fees.

“I wouldn’t be surprised if this was a trial balloon that’s being released to establish a middle ground,” says John Pantle with Sound Talent Group, who works with artists like Natalia Lafourcade and Residente. “We are going into unprecedented times and no one really knows what is going to happen, or how the business will come back.”

Live Nation wouldn’t comment on the memo, but a source close to the company says the memo is a framework for negotiating 2021 events and added that none of the policies are set in stone. But it’s clear Live Nation is not missing out on the opportunity to reshape a relationship dynamic that many say favors artists and puts nearly all the risk on promoters.

The list of changes includes a provision that would remove artists from a promoter’s event cancellation insurance policy, which are skyrocketing in cost. To lower premiums, Live Nation would require artists to purchase their own cancellation policies and file their own claims, instead of expecting payment from the promoter’s policy.

Between the insurance requirements and new cancellation payouts, artists have significantly less incentive to play first year events, Coffey says. Tours will “try and go the safe route with proven ticket sales on [an established] festival versus a new one that might hold more risk of performing poorly,” said Coffey. Some indies will try to adapt to Live Nation’s policies and protections, Coffey predicted, while others will try to set themselves apart from Live Nation as more “artist friendly” and willing to agree to demands.

While a number of agents interviewed by Billboard say there is no chance their artists would agree to pay a penalty if they had to cancel an appearance at a festival, most are prepared to take a fee reduction as the concert business comes back to life in 2021.

“Live Nation has a lot of leverage going into 2021, because they’re one of the few companies booking shows,” says one agent who wished to remain anonymous. “But there are far more festivals needing talent than there are artists capable of headlining a large festival and it won’t take long for the balance of power to swing back to artists.”

Grimes Returns With First New Music Post-Baby in Ashnikko’s ‘Cry’ Action-Packed Anime Video

London-based rapper Ashnikko recruits Grimes, who hasn’t released new music since giving birth to her and Elon Musk’s first son together, for the action-packed anime accompanying visual for “Cry” today (June 17).

And let them say, “this could get gruesome.”

The two-minute CGI clip follows the two artists-turned-anime characters channeling their emotionally charged fury into power against their prey. The video’s director Mike Anderson depicts Ashnikko as a three-headed demon alter ego with missing chunks of her body. She exclaims in the beginning of the song, “I’m about to rip all of my hair out ’cause I’m madder than I’ve ever been” before ripping her enemy directly in half. She juxtaposes the bloodbath with a flood of her own tears, exposing her sensitive side as her superpower.

On the other hand, Grimes illustrates her gentle nature by transforming into a fleet of forest fairies, whispering into the wild, “This is the winter of my discontent/ This is the winter of a never end.” Both artists eventually come together — quite literally — as a Medusa-resembling mutation, with Grimes’ heads tacked onto Ashnikko’s growing appendages so they can take down their common enemy.

Grimes last released her fifth studio album Miss Anthropocene at the end of February, which crowned Billboard’s Top Dance/Electronic Albums chart (dated March 7), before welcoming her first child with Musk in May. They recently changed his name from X Æ A-12 to X Æ A-Xii to comply with California’s law that states parents can only use the 26 letters of the English alphabet to name their child.

Feel the joint wrath of Ashnikko and Grimes in their “Cry” animated music video below.

NLE Choppa Returns to No. 1 on Emerging Artists Chart, Mt. Joy Debuts in Top 5

NLE Choppa returns to No. 1 on Billboard’s Emerging Artists chart (dated June 20) for a record-extending 17th total week at the summit, powered by his single “Walk Em Down,” featuring Roddy Ricch.

The song reaches a new high on the Billboard Hot 100 at No. 44 and stands at No. 14 on the Hot Rap Songs chart, with 12.6 million U.S. streams, 6.1 million radio audience impressions and 1,000 downloads sold, according to Nielsen Music/MRC Data.

NLE Choppa has sent four other songs onto the Hot 100, all since May 2019: “Shotta Flow” (which reached No. 36), “Camelot” (No. 37), “Go Stupid,” with Polo G and Stunna 4 Vegas (No. 60), and “Famous Hoes” (No. 83).

The 17-year-old last led Emerging Artists in January. Dating to the chart’s launch in September 2017, his 17 weeks at No. 1 outpace his closest competitor, Lauv, with 14.

Mt. Joy debuts at No. 3 on Emerging Artists, as its new sophomore LP Rearrange Us opens at No. 3 on Americana/Folk Albums and No. 12 on Alternative Albums with 6,000 equivalent album units. The set also starts at No. 197 on the Billboard 200, marking the act’s first entry on the chart. The album’s “Strangers” concurrently ranks at No. 10 on the Adult Alternative Songs airplay chart (after reaching No. 9 a week ago), where it became the band’s third top 10.

The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Hot 100, Billboard 200 and the Social 50. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.

Check out this week’s full Emerging Artists chart here.

The Organizers of Digital Mirage 2.0 Share Their 5 Favorite Sets Of the Massive Online Dance Festival

Amidst the pandemic, the standard music festival settings of open fields, wooded forests and sprawling parking lots have been sitting empty and quiet.

But social distancing has indeed led to innovation, with streaming festivals not only becoming the primary way dance artists have stayed connected with fans during quarantine, but with these festivals sets becoming farther out and more fully realized as the pandemic persists.

Case in point was the second iteration of the online dance festival Digital Mirage, which this past weekend (June 13-14) saw more than fifty artists performing from far-flung venues including a grand (and empty) Dutch concert hall to the bottom of a pool in California. With the event postponed for a week due to events surrounding the Black Lives Matter movement, everyone on the lineup had more time to prepare, and many turned in truly memorable appearances.

Both iterations of Digital Mirage were produced by Los Angeles dance collective Brownies & Lemonade, Youtube platform Proximity and the dance-centric management firm Keel. The event raised $70,000, with proceeds going to  to the non-profit organizations Equal Justice Initiative and Color of Change, along with the performing artists.

Here, the organizers of Digital Mirage 2.0 share their thoughts on the best sets of the event.

Chet Porter

“As soon as we announced Digital Mirage 2, there were so many questions surrounding the fact that Chet Porter was billed on the event flyer with an ‘underwater set.’ Well, that’s exactly what he delivered, a submerged performance in the pool of an LA home. It was almost like seeing a magician land a death defying trick, but this was real and Chet Porter really risked his life for his art.” — Kushan Fernando, Brownies & Lemonade

Moore Kismet

“Representing both the LGBTQ+ and Black communities with a Pride-inspired set would be a daunting task for any young artist making their online festival debut, but 15-year-old phenom Moore Kismet did just that with gravitas and grace. Kismet exhibited an enthusiasm, confidence, and presence-of-mind that further confirmed they are a rising star we will certainly see shine even brighter in years to come.” — Chad Kenney, Brownies & Lemonade

Oliver Heldens

“We knew that artists were going to take it to another level given the extra amount of time that they had for Digital Mirage 2, but Oliver Heldens went above and beyond to set a new bar. He recorded his piece at The Royal Concertgebouw in Amsterdam with a tuxedo to create a very unique and special high energy set. He did this to do something special for Digital Mirage, in addition to creating awareness for The Royal Concertgebouw, as they are in talks of closing it down due to a lack of funding.” – Blake Coppelson, Proximity

Elohim

“A true showcase of talent and creativity, Elohim really outdid herself visually and sonically. She seamlessly found a way to transport you from the comforts of your home to front and center at one of her live shows, for some much needed ‘Group Therapy’.” — Mathew Hyun, Keel

Two Feet

“Since his spring Pink album tour was cancelled due to COVID-19, Two Feet decided to re-create the experience for Digital Mirage 2. He recorded his set live from the famous Mission Sound Studios in Brooklyn. This was a really special live performance that fans can relive on YouTube forever. — Joey Papoutsis, Keel