Entertainment
How the Music-Branding Business Became a Billion-Dollar Industry

Music branding” does not involve stamping horses with band logos (at least not yet). But it does apply to just about anything else in which a commercial entity — from Taco Bell to JPMorganChase — partners with an artist or music company.
Which is why, at the beginning of last year’s Brat Summer, Charli xcx appeared as a 3D hologram activated by White Claw drinkers who aimed their phones at a product logo; why Nike spent in the low seven figures to license Led Zeppelin’s “Whole Lotta Love” for a Super Bowl LIX commercial; why Will Ferrell sang a PayPal jingle set to Fleetwood Mac’s “Everywhere”; and why Pinterest set up Coachella “manifest stations” filled with beauty products curated by singer Victoria Monét.
“It can be a tour sponsorship, a social media campaign, a tie-in with a brand’s philanthropic endeavor,” says Marcie Allen, president of MAC Consulting, who has been connecting artists with brands for 30 years and was one of 15 music industry experts who helped Billboard compile its first Branding Power Players list since 2019. “Brand partnerships are bigger than they have ever been because they give companies the ability to break through the noise.”
There are no metrics that quantify the overall music-branding market, because it’s so multifaceted — from the multimillion-dollar advertising synch business to singer-songwriter RAYE performing intimate concerts at Hilton hotel rooms, footage of which appeared in commercials and social media posts. That said, a hint of its scale can be found in the financial filings of the industry’s largest concert promoter, Live Nation, whose worldwide sponsorship revenue has grown from $590.3 million in 2019 to $1.2 billion in 2024. (Advertising and sponsorship amounted to just over 5% of Live Nation’s total revenue last year.)
“We’re seeing brands spending more in music than ever before,” says Russell Wallach, the promoter’s global president of media and sponsorship. He adds that Live Nation research shows 80% of its customers are “interested” in participating with brands at live events. “What brands are doing from an experiential standpoint has been significantly elevated over the last few years.”
Post-pandemic, according to Allen, brands have returned aggressively to the live space — like T-Mobile sponsoring this summer’s Post Malone-Jelly Roll tour.
The synch business, too, has more than rebounded since the pandemic: Global revenue amounted to $400 million in 2020, mostly due to production shutdowns, but it hit $632 million in 2023, according to IFPI. That’s an increase of 58%, from 0.4% of global recording-industry revenue in 2020 to 2.2%. (These numbers don’t include publishing, but they do include film/TV synchs in addition to advertising.) For this year’s Super Bowl, licensed songs cost between $400,000 and $2.5 million on the publishing side alone, music industry sources say, not counting the separate fees for licensing master recordings. According to Brian Monaco, Sony Music Publishing’s president/global chief marketing officer, 50% of this year’s Super Bowl ads, which cost brands a reported $7 million to $8 million apiece, employed synchs.
In the streaming era, brands and music companies are more efficient than ever in using data to align artists’ fan bases with companies’ target demographics, says Rich Yaffa, Universal Music Group’s executive vp of global brands: “When we partner with a brand, our goal is to make fans of our artists fans of their brands.”
Stephanie Miles, Wasserman Music’s head of music brand partnerships, says brands recently have become more willing to work on elaborate activations with artists. One act she declines to name spent months negotiating a fashion shoot and a live event to ensure both artist and brand emphasized the same regional market. “The days of receiving an opportunity that has been completely conceptualized by a brand, and the artist taking it as is, are long gone,” she says.
“Deals are definitely becoming more complicated and sophisticated,” adds Andrew Klein, managing director of AEG’s global partnerships. “It used to be [when] Coca-Cola’s coming out with a new product, [it would] just hand out the can [at concerts] and do a sampling program. They’re now trying to get a lot more return on investment. Yes, they want to sponsor the tour, but they also want to use the music for that artist in a campaign, use [their] name and likeness or tap into their social media.”
Will the good times in music branding continue? It’s hard to say, given President Donald Trump’s unsettling of the economy with layoffs, deportations, tariffs and threats of tariffs in the first weeks of his administration. “We’re starting to see a bit of a spend slowdown,” says Toni Wallace, partner and head of music brand strategy and partnerships at UTA. “There’s no question the demand and opportunity is there; it’s just ‘Let’s see how this first quarter goes.’ ”
It wasn’t long ago that artists, fearing claims of “selling out,” avoided collaborations with major corporations: In the late ’80s, after Pepsi landed Michael Jackson, Madonna and David Bowie in commercials and Whitney Houston sang a Diet Coke jingle, Neil Young responded with the scathing “This Note’s for You”: “Ain’t singing for Pepsi/Ain’t singing for Coke/I don’t sing for nobody/Makes me look like a joke.”
But things have changed: In 1999, Sting refashioned his “Desert Rose” music video into a Jaguar commercial; Bob Dylan licensed “Love Sick” to a Victoria’s Secret spot in 2004; an instrumental portion of Vampire Weekend’s 2019 “Harmony Hall” — an upbeat-sounding tune that nevertheless is about antisemitism — was used in a Choice Hotels TV plug; and last year, Megan Thee Stallion’s colorful 2024 Amazon Music ad included the original track “It’s Prime Day.”
“You had rockers who never wanted to be seen associated with anything: ‘It’s too commercialized,’ ” says Jeff Straughn, Primary Wave’s senior partner/chief brand officer. “Today, it’s ‘How can I sell it?’ ”
This story appears in the March 8, 2025, issue of Billboard.
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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