Entertainment
How Tate McRae Scored a Career-Best Debut With ‘So Close To What’

In the current music industry, not many artists are allowed the time and space to grow and develop across multiple projects on the way to the top. But Tate McRae’s rise over the past few years has been an exception.
Since first making waves on the Hot 100 with breakout single “You Broke Me First,” which reached No. 17 in 2020, she’s released a trio of albums that have each climbed higher than the last: 2022’s I Used to Think I Could Fly, which reached No. 13; 2023’s Think Later, which hit No. 4; and, this week, her latest album So Close To What, which debuted at No. 1 on the Billboard 200 with 177,000 equivalent album units, by far the biggest week of her career and her first No. 1.
It’s been a steady rise for the Canadian singer, whose 2022 single “Greedy” reached No. 3 on the Hot 100 and who has landed 21 songs on the chart to date. But this project was different. “This wasn’t just about one hit, it was about a superstar artist with an exploding global fan base ready to devour every song on the album top to bottom,” says RCA Records senior vp of commercial partnerships and release planning Jordan Blaugrund. “So it was no surprise to us when nearly the whole album was on the Hot 100 chart after the album was released.”
With So Close To What’s chart-topping debut week, and its contention for a second week atop the chart next week, Blaugrund is Billboard’s Executive of the Week. Here, he explains what went into the rollout of the project and how McRae is able to speak directly to her fans: “Tate has been consistently in front of her fans on tour and online since her last album, so we knew we had an even larger fan base to rally.”
This week, Tate McRae’s So Close To What debuted at No. 1 on the Billboard 200 with 177,000 equivalent album units, her first No. 1 album. What key decision did you make to help make that happen?
I can’t stress enough how much of a team effort this was. Both at RCA and with Full Stop Management — every department, every person, worked together to elevate this campaign. A lot of us have been working with Tate since before her first album so there’s a ton of passion behind her artist development story that continues to unfold. For So Close To What, we wanted to build on her prior albums with a multifaceted, fan-centric campaign. This started months in advance with incredible music and creative that helped inform the vision we were bringing to life. We knew Tate’s fans were going to be along for the ride, so we got to work creating the ideal release strategy and product offerings to engage them along the way.
The album also sold 71,000 copies, debuting at No. 1 on the Top Albums Sales chart, her biggest sales week of her career. What was the sales strategy around the album?
I never take for granted that we have amazing support from our streaming partners. They’ve all been with us from day one of her journey and we couldn’t have achieved these results without them. They were our first stop in setting up this album campaign and have so much love for Tate. But we also knew that if we were going to take this album to the next level we wanted to expand into the physical world as well. From the very first conversation we worked to position the direct-to-consumer and retail campaign as a superstar-level global opportunity. We had an incredibly ambitious product assortment, first and foremost centered around Tate’s own artist store that would be a destination for her fans throughout the campaign. Waves of products were launched there including multiple vinyl variants, signed items and other collectible packages. We extended that strategy to our retail partners with IRL activations across the country and exclusive vinyl variants that fans could collect across different stores.
How did you guys roll this project out differently from her last one, which debuted at No. 4?
Our ambitions were bigger on every level. Tate has been consistently in front of her fans on tour and online since her last album, so we knew we had an even larger fan base to rally. We’ve been focused on building her first party data strategy during that time to be able to activate fans directly. Of course Tate is a master of social media, and that will always be a key channel for her, but being able to complement that with direct fan communication is immensely powerful.
The last album had her Hot 100 No. 3-peaking smash “Greedy,” but this album blew it out of the water by more than 100,000 units despite not having a hit that big. What work did your team put in to achieve that?
The streaming numbers were impressive from the start and each song released prior to the album was one of the biggest debuts of her career. The cadence of song releases was purposeful to bring the fans along as we built into the album. This wasn’t just about one hit, it was about a superstar artist with an exploding global fan base ready to devour every song on the album top to bottom. So it was no surprise to us when nearly the whole album was on the Hot 100 chart after the album was released.
Her first album hit the top 15; second album hit the top five; and this one hit No. 1. How have you helped build her profile over the years to get to this point?
An incredible team effort with Tate and her management team and a labor of love for everyone at RCA. So many people doing A-plus work across marketing, digital, creative, A&R, commercial, international, release planning, press and more. It’s so much more gratifying to see these results as a team because we did it together. And all this when Tate is only 21 — think about the rare company that puts her in. It’s an unbelievable achievement and this is only the beginning.
What really moves the needle for an artist in 2025?
Focus on your fans. Have a point of view and a story to tell. Be authentic. Build a collaborative team that supports and challenges you. Stay consistent. And of course, always incredible music and creative.
Last Week’s Executive: Viña Executive Director Daniel Merino
Entertainment
Tim Dillon Fired From Riyadh Comedy Festival for Saudi Slavery Remarks: ‘They Didn’t Like That’

Tim Dillon will not be traveling to the Riyadh Comedy Festival next month. The California comedian and host of The Tim Dillon Show podcast says he was fired from the Oct. 8 Saudi Arabia festival for comments he made about the country on Joe Rogan‘s podcast.
Besides losing a $375,000 payday (an amount Dillon confirmed to Rogan), he also lost a nearby warm-up gig in Dubai two nights before his Riyadh appearance after mixing up the Arab emirate with Abu Dhabi (the rival cities are both part of the United Arab Emirates).
“I mixed them up — apparently this is a big deal over there. This is a real problem,” he said on a recent episode of his podcast. “This is not a malicious slander. It’s a mistake.”
The Riyadh Comedy Festival — which mostly takes place at the Bakr Al-Sheddi Theatre and ANB Arena from Sept. 25 to Oct. 9, features a number of top tier comedians including Dave Chappelle, Bill Burr, Gabriel Iglesias, Aziz Ansari, Kevin Hart, Jeff Ross, Chris Distefano, Tom Segura, Jo Koy, Sam Morril, Hannibal Buress, Andrew Schultz, Sebastian Maniscalco, Whitney Cummings, Jimmy Carr, Louis CK, Pete Davidson, Russell Peters and Chris Tucker.
“Supposedly, MBS is a fan of mine,” Dillon said two weeks ago on the Joe Rogan Experience podcast, referring to Saudi head of state Mohammed Bin Salman.
Dillon was reportedly fired from the festival for claiming that Saudi Arabia relies on slave labor — a controversial take on the country’s foreign laborers laws that some groups, including Human Rights Watch, have criticized as “slavery-like.” Legally, slavery was abolished in the Kingdom in the 1960s.
Dillon said the slavery jokes were a misunderstanding with his Saudi hosts, saying on his podcast, “I was defending them for having slaves. I literally said, ‘Slaves are hard workers and for the most part agreeable.’ But they didn’t like that.”
“You can literally support somebody too much,” he added. “In life, this happens. Too many compliments; too much support — and then they turn on you.”
He clarified his comments further, noting, “If i was a slave — not that I want to be one, but if I was and I built this really nice thing, I might say to my slave children, ‘Daddy built that,'” concluding, “Apparently this got to the people in Saudi Arabia and they were unhappy about it.”
The Riyadh Comedy Festival opens Sept. 25 with performances by Burr, Maz Jobrani and Andrew Santino and Bobby Lee from the Bad Friends podcast. More here.
Entertainment
Wilson Phillips, Kenny Loggins & More to Perform at Charity Concert Honoring Brian Wilson & The Beach Boys

Wilson Phillips, Kenny Loggins, David Pack of Ambrosia and more are set to perform at a charity concert celebrating the music of Brian Wilson and The Beach Boys on Saturday, Sept. 27 at the Granada Theatre in Santa Barbara.
Wilson Phillips features two of Wilson’s daughters, Carnie and Wendy Wilson, as well as Chynna Phillips, the daughter of John and Michelle Phillips. The concert will also feature Brian Wilson’s grandchildren, so it will spotlight three generations of the Wilson family.
The concert, dubbed An All-Star Tribute to the Music of Brian Wilson & Songs of The Beach Boys, will feature the Folk Orchestra of Santa Barbara. Other guest performers are expected to include The Honeys; former members of The Beach Boys and the Brian Wilson Band; and keyboardist Don Randi (The Wrecking Crew); with appearances by Rosemary Butler (Jackson Browne), Ken Stacey (Elton John), Hunter Hawkins (Kenny Loggins), Carly Smithson (American Idol), Alisan Porter (The Voice) and poet Stephen J. Kalinich. These acts will be backed by The Tribe Band, who will perform an array of Beach Boys favorites.
The show begins at 7:30 p.m. Here’s a link for tickets. VIP packages are also available.
Proceeds will be donated to Adam’s Angels, a local group of volunteers, and the Surfrider Foundation of Santa Barbara, dedicated to the protection and enjoyment of the world’s oceans and beaches.
Brian Wilson died on June 11 at age 82. He was the third member of the fabled group to pass, following brothers Dennis in 1983 at age 39 and Carl in 1998 at age 51.
Entertainment
AI Artist Xania Monet, Diddy Sentencing Looms, Ticketmaster Lawsuit & More Music Law News

THE BIG STORY: If you needed another clear sign that artificial intelligence is seeping into every aspect of American cultural life, here’s one: An AI artist just signed a record deal, the hallowed milestone of success for any emerging musician.
As first reported by Billboard last week, Xania Monet — the avatar of a woman named Telisha Jones who writes her own lyrics but uses Suno to create the music — inked a record contract worth millions. The deal has quickly become the talk of the industry, including from stars who have spoken out, including Kehlani, who said: “I don’t respect it.”
But…what exactly is a label buying here? It remains unclear the extent to which you can secure intellectual property rights to AI-generated songs, raising hurdles for monetizing them. And platforms like Suno are still facing trillion-dollar infringement lawsuits that essentially claim the technology itself is illegal. For more, go read our full story.
You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, go subscribe here.
Other top stories this week…
BLIGE CASE TOSSED – A federal judge dismissed a lawsuit against Universal Music Group claiming Mary J. Blige’s enduring 1992 hit “Real Love” infringed the oft-sampled 1973 funk song “Impeach the President” by the Honey Drippers, which has been used by Run-DMC, Dr. Dre, Doja Cat and many others over the years. The judge said the two songs were so different that nobody would hear the earlier song: “The songs do not sound the same.”
DIDDY SENTENCING – Attorneys for Sean “Diddy” Combs urged a federal judge to sentence him to just 14 months in prison on his prostitution convictions, asking him to reject the kind of “draconian” punishment sought by prosecutors. Because the star has already served 13 months in jail since he was arrested, that sentence would see him released almost immediately: “It is time for Mr. Combs to go home.”
LETTERS OF SUPPORT – To help make that argument, Diddy’s lawyers filed dozens of letters from supporters, pleading with the judge to show lenience toward the rapper when he sentences him next month. They came from Diddy’s mother and kids, from ex-girlfriend Yung Miami and from an executive at hip-hop label Quality Control Music — among many others.
SUNO SUIT 2.0 – Separate from the Xania Monet situation, the major record labels filed an amended version of their copyright lawsuit against the AI music firm, adding new allegations that the company illegally “stream-ripped” songs from YouTube to train its models. That’s a hugely important new claim: In a separate such lawsuit against Anthropic, a federal judge ruled this summer that AI training itself is likely a legal “fair use” but that using pirated works to do it could lead to many billions in potential damages.
FTC, YEAH YOU KNOW ME – The Federal Trade Commission filed a lawsuit against Live Nation and Ticketmaster accusing the concert giants of advertising misleading ticket prices and allowing scalpers to buy up tickets and resell them at inflated prices. The case came months after the agency sued a ticket broker that allegedly used thousands of fake Ticketmaster accounts to buy and resell tickets to Taylor Swift concerts and other events — and two years after Live Nation was hit with a sweeping monopoly lawsuit by the U.S. Department of Justice.
HYPE VID SETTLEMENT – Mike Tyson settled a lawsuit claiming he illegally used the Jay-Z, DMX and Ja Rule song “Murdergram” in an Instagram video promoting his boxing match against Jake Paul. The case was filed by Ty Fyffe, a producer and co-writer of the 1998 track who claimed that Tyson had willfully infringed his copyrights by using the song in a training video ahead of his much-hyped fight with Paul.
LOSE YOUR … CASE? – Meta urged a federal judge to dismiss a lawsuit from Eight Mile Style, a music publisher that owns hundreds of Eminem songs, which claims the social media giant made “Lose Yourself” and other iconic tracks available to billions of users. In the motion, Facebook’s lawyers argued the case was “remarkably short on specifics” about actual infringing material: “Fanciful estimates are not a substitute for well-pleaded facts,” the company wrote.
NEVER MEANT TO CAUSE YOU ANY PAIN – The Prince estate asked a judge to dismiss a lawsuit by the late singer’s Purple Rain co-star Apollonia (Patty Kotero) that claims the estate is trying to “steal” her name, arguing it has no intention of forcing her to change her name — and has repeatedly told her as much. The filing did say, however, that Apollonia secured her own trademarks during “the chaotic period following Prince’s death.”
SEX TAPE LEAK CASE – Colombian pop star Beéle was hit with a lawsuit alleging invasion of privacy and sexual cyberharassment from ex-girlfriend Isabella Ladera, claiming he is responsible for leaking their sex tape. Beéle’s reps have denied that he was the source of the leak and said the singer is “also a victim,” but Ladera’s lawsuit placed the blame squarely on him: “Only two people had the videos, and Ladera had already erased them almost a year and a half before.”
MEGAN THEE PLAINTIFF – Lawyers for Megan Thee Stallion argued in court filings that the social media personality DJ Akademiks must reveal whether Tory Lanez sent him a confidential DNA testing report during the singer’s criminal case. The filings came amid discovery in a defamation case against Milagro Gramz, a gossip blogger and ardent online defender of Lanez.
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