Supplemental Shuttered Venue Grant Program Now Underway

The Plans for supplemental funding is underway for the. On Friday (Aug. 27), the Small Business Administration began sending out invitations for entities to apply for additional federal funding from the $16 billion allocated for music venues, promoters, talent agencies and more.

These supplemental grants will be available for anyone who received an initial grant and are able to show a 70% loss when comparing 2021’s first-quarter revenues to the same in 2019. Supplemental award applicants can choose to apply for any amount up to 50% of their original grant amount, with a $10 million cap of the initial and supplemental awards combined.

“The SBA has awarded approximately $9 billion in crucial relief to approximately 11,500 performing arts venues and other related businesses so they can continue to anchor our neighborhoods and define our communities. We know many of these businesses still need assistance to fully recover from the unanticipated expenses and debt caused by the pandemic,” SBA Shuttered Venue Operators Grant program director Matthew Stevens said in a release. “These supplemental grants will go to the hardest-hit Shuttered Venue Operators Grant awardees to ensure they can get back on their feet and get back to the business of driving our nation’s economy.”

The supplemental awards also allow SVOG recipients to extend the time to use their grant funds for expenses accrued through June 30, 2022 and lengthen their budget period to 18 months from the initial grant’s disbursement date.

If sufficient funding is not available for all eligible entities to receive a supplemental award, priority will be given to applicants who have illustrated the greatest revenue loss in the first quarter of 2021 compared to the first quarter in 2019. With $9 billion of the $16.2 billion for the grants awarded, roughly $7 billion remains for supplemental grants. If applicants are only allowed to receive 50% of their initial award, then as much as $2.5 billion could remain after supplemental grants are completed.

Applicants should check their program portal and follow instructions to accept or decline the supplemental grant. The SBA will be reviewing entities’ first quarter revenue for 2021 to decide on who receives funding. The SBA says those invited to apply for supplemental grants can expect awards to begin rolling out within two weeks.

Since the Shuttered Venue Operators Grants program was signed into law in December, independent venues, movie theaters and more live event businesses have struggled to bring in substantial revenue for the majority of 2021. Of the more than 17,600 applications submitted for the SVOG, just over 4,100 were declined. About 13% or just over 1,300 applications are still under review by the SBA.

My First Show Back: Resound Presents’ Graham Williams on Texas’ Summer Concert Boom

For the first time in 15 months, live music is returning nationwide after the global coronavirus pandemic ravaged the industry. Billboard’s “My First Show Back” is a series dedicated to sharing stories from throughout the touring ecosystem about what’s happening now, what has been forever altered and what will never change.

In this installment, concert promoter Graham Williams discusses having to shut down his former company, Margin Walker Presents, due to the pandemic, and rebuilding as Resound Presents. Williams tells Billboard about resurrecting his business just before the Delta variant of COVID arrived to threaten concert schedules. 

Our first shows back weren’t normal ticketed shows. They were sponsored events. Texas Lottery does an annual series of free concerts and it was sponsored by them. It was rapper Wale, and he did Houston, Dallas and Austin. Two of them were 1,000-1,200 capacity rooms and the one in Austin was about 2,000. That same weekend we had a show in Austin with rapper Ramirez, and then about a week or two later we had a series of shows in San Antonio.

With the Wale shows, it was the last weekend of July. Things were just picking up, and then a week and a half, two weeks later, when we had our next round of shows, things got more intense with the COVID numbers. We had to pay more attention to things surrounding that.   

In May, the first shows I went to just check out — at the beginning it was weird, but by the end of the show it felt normal. It felt like every other show. At this point, I was assuming everyone was vaccinated and the Delta variant hadn’t really popped up yet. People weren’t wearing masks. Everyone was like, “We got the vaccine. Everything’s fixed.” People were just so anxious to get back to some form of normalcy, but since then I would say there’s a lot more masking.   

[The last time I promoted a show] was early March 2020. It’s a little different here, because in early March we don’t have a lot of shows because SXSW sort of rents out all the clubs. We worked with SXSW and some of the events that happened that week. Then SXSW, shockingly, was cancelled. Looking back it makes sense, but at the time we were all surprised.  

We kept Margin Walkers going through the summer, and we started talking about [shutting down permanently] when it was clear this wasn’t going to be a matter of days, weeks or months. So we announced [we were closing] in early December.  

We had always hoped that we would get back to some version of what we did before. We’re good at it. We’ve been doing it forever. Some folks, it’s in their DNA. We didn’t want to come back prematurely and wanted to wait until it was safe. We started talking and working on Resound in spring. I called the Margin Walkers staff. We talked to everybody who worked here. We knew we were going to scale down a little bit. Half [of the former staff] was excited to come back and couldn’t wait. The other half got new careers. Some of them still love music and the music business but had been wanting to do something different for a while. One guy got a job in high-end collectible trading cards. Someone went to work with some huge Twitch, YouTube sensation guy. Someone else got a job completely out of entertainment doing spreadsheets and project management and she loves it. People found these new roles.  

[Resound Presents] now has 75 shows on sale, and we have a bunch more we’re about to announce. We will have about 100 live shows in the next month or so. It feels just like it always did, except better and more organized. I think everybody is hoping that nothing weird happens. That’s where we are right now.  

It was weird. It felt good to be back at it, but the [COVID] numbers were just starting to creep up and there were a lot of unvaccinated folks starting to get sick. We were really pushing for masks, masks, masks. They weren’t mandated, but you could push it. None of the shows were at capacity wall-to-wall, but they were packed. Usually 5% to 10% of people don’t show up to shows, but it was a bit more [than that]. 

In early to mid-August is when people started saying, “Let’s start enforcing something. Let’s say you either have to have the vaccination or proof of the negative test to come in.” That’s something artists have been pushing for, and I don’t want to speak for anyone else, but promoters and clubs were all set for it as well.   

Any shows we have done with the new requirements, we’ve seen a handful of refund requests. We offer a small 48-hour window to request a refund. I want to say that for a 1,000-person show, about 30 people got refunded and another one was about 10 people. And more people scooped up those tickets. We saw an uptick in sales that blew past the refunds. There were more people interested in going because of the new rules.

As told to Taylor Mims.

Los Bukis’ 25-Year Reunion Tour: Here Are 7 Chart Hits in the First Show’s Setlist

Los Bukis took fans by surprise after their Una Historia Cantada stadium tour 2021 reunion was announced the week leading up to Father’s Day. It’s been 25 years since the famed Mexican band’s last show in Guadalajara, the same year of its last top 10 on Billboard’s Hot Latin Songs chart.

Los Bukis have sent 32 entries onto Hot Latin Songs (which began in October 1986), starting with 1987’s No. 9-peaking “Este Adiós.” Nine years later, the seven-member ensemble captured its last top 10 to-date on the survey, “Por Amor A Mi Pueblo,” a No. 5 hit.

As a full-on solo act, the group’s Marco Antonio Solís has scored 10 No. 1s starting in July 1996, following “Una Mujer Como Tu,” billed with Los Bukis, a six-week leader in 1995. He most recently led as featured on Enrique Iglesias’ “El Perdedor” for a week in February 2014. (Los Bukis boast five No. 1s, including “Mujer.”)

The Una Historia Cantada tour crosses off another milestone for Los Bukis, as Friday’s (Aug. 27) first date sold out within minutes, as reported by Live Nation, also making the act the first Latin band to sell out the 70,000-seat SoFi Stadium in Inglewood, Calif. A second show, also sold out, is set for Saturday (Aug. 28).

Seven more shows are scheduled: Sept. 4 and 5 at Soldier Field in Chicago (sold out); Sept. 15 at AT&T Stadium in Arlington, Texas; Sept. 18 at NRG Stadium in Houston; Sept. 25 at the Alamodome in San Antonio; and Oct. 1 and 2 at RingCentral Coliseum in Oakland (sold out).

Notably, most ticket buyers for the first two concerts were among 25-35 years old, according to Live Nation, a relatively youthful range given the band’s 1975 formation by Solís and his cousin Joel. Some purchasers posted sweet reactions on TikTok of their surprised parents receiving tickets to the shows.

The “Mexican Beatles,” as dubbed by Los Bukis enthusiasts, stretch across generations thanks to their collection of hits that bring together love songs and breakup ballads, regional Mexican tunes and other surprises as relatable now as decades ago, all translating to the band’s trademark feel-good mindset.

Spoiler alert: Ahead of the tour’s launch, here is a look at seven hits confirmed to be part of the first reunion show, six of which landed atop Hot Latin Songs or secured a spot within the multi-metric tally’s top 10.

“Tú Cárcel”: Peaked at No. 3 on July, 18, 1987

“Me Volví a Acordar De Ti”: Peaked at No. 26 on Sept. 19, 1987

“Y Ahora Te Vas”: Peaked at No. 1 on April 23, 1988

“Tus Mentiras”: Peaked at No. 10 on Sept. 3, 1988

“A Donde Vayas”: Peaked at No. 2 on Sept. 23, 1989

“Cómo Fui a Enamorarme de Ti”: Peaked at No. 1, for five weeks, beginning Dec. 9, 1989

“Mi Mayor Necesidad”: Peaked at No. 1, for four weeks, on March 21, 1992

First Out: New Music From Kim Petras, Halsey, Rina Sawayama & More

As we reach the end of the summer, it’s time to start prepping for the fall with some new tracks from your favorite queer artists. Billboard Pride is here to help with First Out, our weekly roundup of some of the best new music releases from LGBTQ artists.

From Kim Petras’ return to dance-pop, to Halsey’s stunningly serious new album, check out just a few of our favorite releases from this week below:


Kim Petras, “Future Starts Now”

The princess of pop has finally returned! After a brief hiatus, Petras officially burst back onto the scene with “Future Starts Now,” the first single off of her hotly anticipated debut album, and her first single since officially signing to Republic Records. The ’80s Euro-dance track sees Petras cruising in a familiar lane, as pounding beats and catchy synths accompany her slick vocals as she croons about not looking back, and plowing forward into her new, pop-fueled era. “Ain’t nobody gonna stop me/ Don’t you let the music stop now,” she sings on the track. “You’re more than just anybody/ Don’t give up, the future starts now.”

Halsey, If I Can’t Have Love, I Want Power

To anyone who ever doubted the depth of talent and artistry that Halsey wields at any given moment, may we introduce you to If I Can’t Have Love, I Want Power. The singer’s fourth album, appropriately produced by Nine Inch Nails’ Trent Reznor and Atticus Ross, goes far beyond what some expected — namely, her long-awaited rock album. Instead, the constantly changing, genre-bent project sees them taking on punk (“You Asked For This”), hip-hop (“Lillith”), and straight-up pop (“Girl With a Gun”), all while narrating a complex tale of pregnancy, birth and motherhood. If I Can’t Have Love is the kind of album that will keep you thinking for hours after listening to it, and it’s for that reason that you should absolutely press play now.

Rina Sawayama, “Enter Sandman”

Rina Sawayama has made a name for herself as a genre-bender. So it’s no surprise that when she was tapped to tackle Metallica’s “Enter Sandman” for their 30th anniversary covers album, she put her own spin on the classic. Throughout her cover, Sawayama leans into the guitar-heavy shredding of the original, while doubling down on her own pop sensibilities — adding in smashing drum machines, chill-inducing vocal distortions, and the kinds of glitchy, hard-to-pin down production flourishes that made her debut album such a smashing success. Head off to Never Never Land with this fabulous cover, courtesy of Rina Sawayama.

Wrabel, “London”

For the last few of his releases, singer-songwriter Wrabel has leaned into depicting happier loving relationships. But with “London,” he’s back in his feelings with an emotionally devastating and viscerally gorgeous new song. Accompanied by a guitar and some light drums, the teary-eyed new song sees Wrabel reflecting on missed opportunities in a relationship that has long-since ended. “Sometimes when it’s cold in California/ I think back to that winter with you,” he sings. “‘Cause living in Los Angeles the skies are always blue/ Sometimes I miss London.”

A Great Big World, Particles

It’s been six years since A Great Big World shared their last album with the world, and if the contents of their third studio album are anything to go by, then it’s clear that the duo has grown in that time. Throughout Particles, Ian Axel and Chad King wax poetic on everything from becoming parents (“Glowing”), to OCD (“Save Me From Myself”), to reflections of sexuality (“Boys In the Street”) and finding the one that you want to be with (“The One”). It’s a beautiful album filled with excellently-written songs and the kind of sentimentality that will have you reaching for the tissues.

First Stream Latin: New Music From Maria Becerra & Becky G, Piso 21, Dalex, More

First Stream Latin is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors. Check out this week’s picks below.

Maria Becerra, Becky G, “WOW WOW” (300 Entertainment)

After releasing a series of singles and collaborations with artists such as Cazzu and J Balvin, rising Argentine artist Maria Becerra has officially released her debut album titled Animal. The 11-song set drops with “Wow Wow” featuring Becky G as its focus track, a hard-knock reggaeton that has female empowerment anthem potential, and it marks the first time Becky and Becerra have teamed up for a collab. With a “who needs men” attitude, the track (and music video) find the pair living the best life and sharing a wealthy lifestyle with their BFFs. “Once I woke up and realized you were no longer by my side, I thought, ‘What good luck, this story has finally ended,’” Becerra opens the song. Near the minute-mark, Becky G joins Becerra on the track, singing, “Life is just one and it won’t wait for you … everything is cured with a perreo so don’t be embarrassed to get down.” — GRISELDA FLORES

Piso 21, “Nadie La Controla” (Warner Music Mexico)

After making the rounds with El Amor en los Tiempos del Perreo, one of Billboard’s best Latin albums of 2021 (so far), Piso 21 drops a fresh new single dubbed “Nadie la Controla.” Produced by duo producers Súbelo Neo (Freddy Montalvo Jr. and José Cruz), “Nadie La Controla” is a pure reggaeton song that later transitions to a fast-paced merengue ripiao,’ converting this song into the ultimate party jam. The lyrics bring to the forefront a girl who’s the center of attention and that can’t be controlled. The vibrant music video, helmed by director Charlie Nelson, features cameo’s my famed TikTok stars Kunno and Domelipa, to name a few. “Nadie La Controla” marks the first taste of the Colombian group’s upcoming production. -– JESSICA ROIZ

Maria Leon, Gloria Trevi, “Mudanza de Hormiga” (Promotodo Mexico/OCESA Seitrack)

For the first time, Maria Leon and Gloria Trevi join forces for a happy and colorful collaboration that sweetly fuses cumbia with urban sounds and mariachi trumpets. Penned by Leon, Marcela de la Garza, Trevi, and YoFred, “Mudanza de Hormida” is an invitation to do what your heart desires, from a feminine perspective. Moreover, it’s about being in love and that moment when you are ready to solidify a relationship. “I want to live with you/ I will even change my last name, and if someone asks me for my location, they could find me next to your heart,” Maria chants in the chorus. — INGRID FAJARDO

Dalex, “Pa’ nama” (Rich Music, Inc.)

Dalex is back with “Pa’nama,” a saucy track with a clever play on words. If his debut album Climaxxx was any indication, Dalex continues along the lines of the sultry lyrics and edgy reggaeton fusions that characterize him. Produced by Cromo La X, Rike Music, Ecby, and La Cone, the track tells the back-and-forth story of someone who’s playing hard to get and the other person who’s after them. “Pa’nama,” according to Dalex, “is all about the vibes, and it’s such a fun, sexy, and cheeky song that I hope makes people let loose and enjoy the moment,” he said in a statement. — J.R.

Los Tigres del Norte, “La Reunion” (RMS Music Group/UMG Recordings)

The family reunion we’ve all been waiting for. Los Tigres del Norte have blessed fans with a new single titled “La Reunión,” a norteña song that captures the essence of family in the Latin community. “Welcome to your house, my brothers. Hugging each other was necessary especially now that we are all alive and in good health. Cheers to that,” brothers Jorge and Hernan Hernández sing.

Penned by Eduardo García Márquez, “La Reunión” is a preview of Los Tigres del Norte’s forthcoming album due in the fall and, as ever, the band’s new song comes with a poignant message: a call for family unity and forgiving mistakes in order to build a strong foundation of love for their children. After the band’s longest touring hiatus, “Los Jefes de Jefes” will soon celebrate another reunion, this time with their fans in the upcoming U.S. tour set to kick off Sept. 10 in Kentucky. — G.F.

Maluma feat. Kapla y Miky, Philip Ariaz, Blessd, “L.N.E.M. (GATA)” (Sony Music Latin)

On the heels of “Sobrio” and its star-studded video featuring Scott Disick and other celebs, Maluma now joins forces with the new wave of artists from his native Colombia. Reeling in newcomers Kapla & Miky, Philip Ariaz, and Blessd, Maluma hopes to put “la nueva en el mapa” on their collaboration “L.N.E.M. (GATA).”

Co-produced by Golden Mindz and Rude Boyz, the track infectiously laces a slow-tempo perreo melody with hip-hop and reggaeton beats. “This is what making history is all about,” Maluma wrote on his Instagram.

“He wants to raise the flag,” former Billboard Latin Artist on the Rise Blessd says of Maluma. “There is no other artist like him helping those of us who are emerging so much. He’s doing a job that no one else has done. I respect him as an artist and triple as a person because of that.” — J.R.

H.E.R. to Make Acting Debut in ‘The Color Purple’ Movie Musical

H.E.R. — the Oscar-winning singer-songwriter behind hits like “Best Part” and “Focus” — is in final negotiations to make her feature film acting debut in The Color Purple movie musical.

Warner Bros. is behind the feature adaptation of the Tony-winning Broadway musical, itself an adaptation of the Pulitzer Prize-winning 1982 novel by Alice Walker, on which the Oscar-nominated Steven Spielberg-directed 1985 movie was based. The story centers on a woman named Celie Harris and tracks her life-long struggles as an African American woman living in the South during the early 1900s.

H.E.R. will play Squeak, who, in the musical, goes from a juke joint waitress to an aspiring singer. (Rae Dawn Chong played the role in the original Spielberg feature.)

Blitz Bazawule, the filmmaker behind the Beyoncé-fronted Black Is King, is set to direct the fresh take on the musical. Marcus Gardley penned the screenplay, adapted from Marsha Norman’s book and Brenda Russell, Allee Willis and Stephen Bray’s score.

The movie is in pre-production with casting beginning to come together and chemistry reads happening now. Sources close to the production note that casting and creative decisions are being made to bring the story and its themes to a new generation of viewers. Along with H.E.R. — who sources say is working with filmmakers to possibly perform a new original song for the movie musical adaptation —  In The Heights star Corey Hawkins joined the film this week.

Oprah Winfrey, who had her feature acting debut in Spielberg’s The Color Purple and earned an Oscar nomination, is producing via her Harpo Films banner with Spielberg under his Amblin Entertainment. Scott Sanders and Quincy Jones, both of whom were behind the Broadway musical, will also produce. Walker, Rebecca Walker, Kristie Macosko Krieger, Carla Gardini, and Mara Jacobs executive producing.

Warners has set a release date of December 20, 2023.

The Color Purple will be a reunion of sorts for H.E.R. and Warner Bros. During this year’s Oscar ceremony, the artist took home the best original song award for “Fight For You” featured in the studio’s Judas and the Black Messiah. H.E.R., whose real name is Gabriella Sarmiento Wilson, broke out with EP H.E.R. Volume 1 and then 2017’s self-titled H.E.R., which was nominated for multiple Grammys, winning two, including best R&B album. Most recently, she released her debut full-length album Back of My Mind.

She is repped by CAA and MBK Entertainment.

This article originally appeared in The Hollywood Reporter.

Why Don’t We’s Management Tussle in Lawsuits Alleging ‘Nightmarish Behavior’

Why Don’t We’s management team has split up and has now filed opposing lawsuits to keep the other out of the business — and the band is taking sides.

Randy Phillips and his former longtime partner David Loeffler are suing each other over the boy band’s management and control of their companies Signature Entertainment and PDM III — which have the exclusive right to “direct and control” both the band and the solo careers of its five members, as well as of the group’s music, its masters and all its revenue streams. And, according to a lawsuit Loeffler filed on Aug. 17, the five members of Why Don’t We — Jack Avery (Age 19), Corbyn Besson (20), Zach Herron (17), Jonah Marais (20) and Daniel Seavey (19) — are now refusing to sign a recording agreement with Atlantic Records or perform as a group until Phillips is reinstated as the group’s sole manager.

Phillips is a longtime veteran and former AEG Live CEO who has promoted tours for Bon Jovi, Justin Bieber, Kanye West, The Rolling Stones and Prince.

Loeffler is a longtime music manager, touring executive and film producer who directed Why Dont We’s 2019 film, Unbelievable.

Why Don’t We formed in September 2016, with the band’s business set up as two manager-managed LLCs, Signature Entertainment and PDM III, with ownership stakes for all five group members. The LLCs would retain the rights to manage all aspects of the group and its individual members’ careers and own their creative output, while categorizing the five members as salaried employees, according to the management agreement each member signed. The LLCs also fund and exclusively manage solo artist EBEN.

The next year, Phillips relinquished his role managing one of the LLCs, Signature Entertainment, in order to accept a job running LiveStyle, the company that emerged out of EDM promoter SFX’s bankruptcy. Phillips returned to manage Why Don’t We in 2020 and says Loeffler “abnegated his prior agreement to allow Plaintiff to reassume the role of manager [of Signature Entertainment],” according to a lawsuit filed against Loeffler on Thursday in Los Angeles Superior Court.

Phillips wants a judge to expel Loeffler from PDM III and hand control back to Phillips in a legal process known as disassociation, in which a judge orders the termination of a manager’s voting rights if the manager is found to have acted improperly or “willfully (and) persistently committed” a significant “material breach” of the entity’s financial interest.

In his complaint, Loeffler is suing all five Why Don’t We members for anticipatory breach of contract and suing Phillips for tortious interference with a business relationship over the band’s refusal to sign the Atlantic deal. He is seeking damages. “Signature has the exclusive right to ‘advise, counsel, direct, and assist’” each band member “in connection with all matters relating to their careers in all branches of the entertainment industry,” writes Loeffler’s attorney, Michael R Levin of Baker Law, in the complaint, which was filed in Orange County Circuit Court in Orlando, Florida. No hearing has yet been scheduled in that case.

Loeffler told Billboard in a statement that Phillips’ suit is “without merit and in retaliation for the suit we filed against him.” He added, “The allegations now being made by Mr. Phillips have no merit and will be debunked in court.”

Phillips’ lawsuit also claims Loeffler abused members of Why Don’t We and “irreparably damaged” the management company he and Phillips had created to help foster the up-and-coming boy band’s career.

Hollywood attorney and litigator Howard King of Los Angeles-based law firm King, Holmes, Paterno & Soriano is representing Phillips and alleges in the complaint that while “Loeffler was living with [the band] at a rental property that had been secured for them to develop music” he engaged in “nightmarish behavior,” including “ daily verbal abuse, screaming at them at the top of his lungs, sometimes for 10-20 minutes,” and reportedly “forced the five members to share two small bedrooms, even though the house had a spare, unused bedroom that was upstairs.”

The suit also claims Loeffler would monitor “almost every movement they made” and “hardly allow them to leave the house. Loeffler did not allow them to have friends or visitors, did not feed them properly, and each night set a house alarm, which they did not know the code to, to make sure they did not leave.”

Attorney and trial lawyer Alan Gutman of Gutman Law is representing the band and its individual members, all of whom started working with Loeffler when they were minors.

“My clients, the artists known as Why Don’t We, support Randy Phillips the ‘same way he has supported us from the start of our careers,’” Gutman said in a statement, quoting the band.

King said the decision to terminate Phillips shocked the band and argues that the loss of the record contract is Loeffler’s fault and “severely tarnished Signature and PDM III’s most valuable assets (its relationship with Why Don’t We and Eben), possibly beyond repair.”

“After years of mental and financial abuse at the hands of Dave Loeffler and his associates, Randy Phillips seeks to salvage a deteriorating relationship with rising stars Why Don’t We and Eben with the production companies co-owned by Phillips,” King told Billboard in a statement. “Loeffler’s mistreatment of these primary assets of the companies gravely endanger the survival of the companies. For unknown motives, other than perhaps professional jealousy, Loeffler has attempted to interfere with Phillips’s role as primary manager of these artists.”

Phillips also accuses Loeffler of holding up the release of the band’s second album, The Good Times and the Bad Ones, until January 2021, when it was released in a licensing deal with Atlantic. Phillips claims Loeffler hired an unqualified friend to produce the album, despite his lack of experience, and assigned the friend 30% of the record’s publishing royalties. Phillips also accuses Loeffler of withholding a $1 million publishing advance intended for members of Why Don’t We during the pandemic.

In addition to stripping Loeffler of his manager title at PMI III, King is asking a judge to establish “further relief as the Court deems just and proper.”