Piracy is the 'Most Successful Distribution Method' says this producer

Movie industry veteran Werner Herzog says piracy “has been the most successful form of distribution worldwide.”

Over the weekend, legendary film director Werner Herzog was honored with a lifetime achievement award.  But at the Visions du Réel Film Festival in Nyon, Switzerland, Herzog grabbed more attention for some comments on the topic of piracy.

“Piracy has been the most successful form of distribution worldwide,” Herzog flatly declared.

Herzog noted that when he released his first film in 1962, movie piracy wasn’t an issue. However, it’s now the only way a significant portion of the world can experience the content he creates.

Piracy is obviously a sensitive topic within the movie and music industries, though Herzog noted that piracy is often a problem rooted in access (or lack thereof).  Perhaps because of his more independent, documentary-focused profile, Herzog was free to cross a few industry taboos on the subject.

Herzog was quick to point out that he was not advocating for piracy or promoting the practice. But he noted that despite his distaste for the practice, more people get to experience his work as a result of unauthorized distribution.

“I don’t like it because I would like to earn some money with my films. But if someone like you steals my films through the internet or whatever, fine, you have my blessing.”

Piracy at its core is a service problem.

Game piracy was rampant in the game industry before Steam became the ‘default’ place to download games. Valve cofounder Gabe Newell addressed this issue recently by noting that if a pirated ‘product’ isn’t region-locked and placed behind regional restrictions, it is inherently more valuable to the end-user.

That’s a controversial opinion to some, though game piracy rates have dropped stunningly as Steam has grown as a platform. Music streaming services have also addressed some — though not all — of the rampant music piracy, with similar effects on broader piracy levels.

Q Money Arrested On Murder Warrant In Georgia

Days after issuing the initial warrant for his arrest, Q Money has been booked on murder charges stemming from an incident that took place in a Decatur, Georgia residence. The Cleveland-born rapper stands accused “allegedly caused the death Calvin Alexander Chappell by shooting him multiple times with a handgun on April 15,” as per the DeKalb County Sheriff’s Office who called for his arrest.

Q Money Arrested On Murder Warrant In Georgia

Prince Williams/Wireimage/Getty s

The witnesses at the scene found Q Money née Qamar Williams standing over the victim before they had any inclination as to what happened. When the story went to press, The Atlanta Journal-Constitution omitted Chappell’s name from the incidental report, in keeping with the procedure (over open case files). After consorting with the key witnesses, and deciding upon Q Money as the prime suspect in Chappell’s death, the Sheriff’s Office went public with all the keynote information associated with the case.

The incident report states that upon the discovery the fatal incident, the victim’s cousin and another individual (the witnesses) joined together in disarming Q Money. It was at this point, they overpowered the rapper, forcing him out the residence, locking the door behind him. Up to now, Q Money’s reps have refused to comment on the situation.

UK High Court Tosses Royal Opera House Appeal Over Violinist's 'Acoustic Shock'

Undeterred with two defeats, the Royal Opera House vows to fight on.

Last year, the High Court found the Royal Opera House (ROH) to violinist Christopher Goldscheider’s permanent hearing loss.

The violinist had accused the classical venue of being liable for hearing damage sustained during a rehearsal venue seven years ago.

While rehearsing Wagner’s ‘Die Walkure’ in 2012, the ROH ignored UK Noise Regulations.  Sound levels during the performance reached 130 decibels.

As a violinist, he sat directly in front of the horn section.  The ‘bell’ of the trumpet remained close to his ear.

According to classical music buffs, ‘Die Walkure’ is an incredibly loud piece.  Despite the ROH providing Goldscheider with earplugs, these proved insufficient.  The sounds allegedly reached the level of a jet engine.

Now, after filing an appeal against the initial ruling, the ROH has suffered yet another major setback in court.

Yes, the Royal Opera House contributed to Goldscheider’s ‘acoustic shock.’  No, it won’t have a devastating effect on the music industry.

For eighteen months following the rehearsal, the violinist unsuccessfully attempted to manage the situation.  Doctors had diagnosed Goldscheider with permanent high-frequency hearing loss.

Due to his inability to hear sound without pain, the violinist had to leave the ROH in 2014.

In a filing with the Court of Appeal, the Royal Opera House claimed it offered Goldscheider – and other musicians – hearing protection.  The earplugs, the venue argued, remained consistent with industry guidelines.  It was up to individuals to wear the earplugs in the correct way.  In addition, it’s impractical to have staff members standing next to musicians at all times to ensure the proper use of hearing protection.

Lawyers for the ROH also dismissed the notion Goldscheider suffered ‘acoustic shock,’ as the term doesn’t exist.

Unfortunately, judges disagreed.  The Court of Appeal unanimously dismissed the appeal yesterday.

Lawyers for the ROH had also argued should the original ruling stand, it would have wider ramifications for the music industry.  Judge Sir Brian Levenson dismissed that argument.  He noted few venues have the same exact space constraints the ROH has.

I simply do not accept that this cataclysmic scenario represents a proper understanding of the consequences of this decision.

For most musical venues, space will not be the problem that it is at the ROH.

He added the case underlined the obligation orchestras had to comply with the requirements of employment legislation.  Judge Levenson also slammed the ROH, stating the venue had “two years within which to prepare” legal compliance.

[The case] emphasizes that the risk of injury through noise is not removed if the noise – in the form of music – is the deliberate and desired objective rather than an unwanted byproduct (as would be the case in relation to the use of pneumatic machinery).

The court has yet to assess the actual damages Goldscheider is now entitled to.

In a statement, the Royal Opera House vowed to fight the rulings.  Alex Beard, the venue’s Chief Executive, stated,

[We’re] disappointed by.. the appeal court’s ruling and will work closely with our insurers and legal team to explore our next steps.



Trustee Asks Judge to Subpoena Netflix and Hulu Over Fyre Festival Documentaries

Just how much did Billy McFarland, Fyre Festival’s now-jailed co-founder, hide from his own company?

Shortly after the start of the New Year, both Netflix and Hulu their respective documentaries on the biggest live concert disaster in history.

Beating Netflix to the punch, Hulu’s Fyre Fraud debuted on January 14th.  Netflix released Fyre: The Greatest Party That Never Happened just four days later.

Both touched on the catastrophic failure of Billy McFarland and Ja Rule’s Fyre Festival.  They also managed to get exclusive footage of McFarland.

Now, one trustee wants to know exactly how both Fyre Festival documentaries got their hands on that footage.  And, how much they paid for it.

Did Hulu and Netflix both inadvertently help McFarland hide Fyre Festival assets?

A trustee administrating the bankruptcy of McFarland’s failed Fyre Festival company has asked a New York bankruptcy judge to let him formally subpoena both Netflix and Hulu.

Gregory Messer claimed McFarland never actually filed basic bankruptcy schedules.  Thus, he needs to know whether the now-incarcerated festival founder hid assets belonging to Fyre Festival LLC.  This, says Messer, would generate money for the company’s creditors.

In a court filing, he wrote,

In order to create the documentaries, both Hulu and Netflix used unique behind-the-scenes footage of the festival.

Due to a lack of information, it’s impossible for the Trustee to determine where the footage came from and whether such footage was an asset of the debtor’s estate.

Messer added Hulu actually paid McFarland for the footage.  Thus, the trustee has demanded the court forcibly compel Hulu and Netflix to hand over documents related to the documentaries’ production.

In addition, Messer has asked the bankruptcy court for additional subpoenas against more companies, including Suforia LLC.  He believes these companies may have received up to $1.7 million in transfers directly from McFarland.  Messer claims these funds may have originally belonged to Fyre Festival LLC.

Wayne S. Kreger of the Law Offices of Wayne Kreger, the firm which represents Suforia, said the company has yet to receive a subpoena.  Yet, Suforia will readily comply with any court order.



DJ Paul Recruits Beanie Sigel For "Real Money" Single

DJ Paul has enlisted the help of Beanie Sigel for his new single “Real Money.”

The unexpected collaboration will appear on DJ Paul’s upcoming release Power, Pleasure & Painful Things, which is scheduled to drop on May 10. The Three 6 Mafia co-founder’s solo project will also feature Yelawolf, Wifisfuneral, Seed of 6ix and Rob Vicious.

Stream DJ Paul’s “Real Money” featuring Beanie Sigel above.

Reebok "Alien Stomper" Returns For 40th Anniversary of "Alien"

Back in 1979, Ridley Scott’s cult classic Alien hit theatres and one the most iconic franchises was born. Over the years, there have been multiple sequels and reboots the movie, but the original remains the best in the series. This year marks the 40th anniversary the film and to celebrate, Reebok is rereleasing a shoe that was worn by protagonist Lance Bishop in the second film titled Aliens.

The shoe is a high top with a creamy leather upper that also features some dark grey suede near the back. Red highlights can also be seen throughout the shoe and overall, the aesthetic is clearly sci-fi-inspired. There is a yellow hang tag, as well as a green and Weylan-Yutani tag which will surely appeal to the hardcore fans the movie. The packaging will also come with a dust bag and Nostromo documentation.

These will be dropping on Friday, April 26th for $180 USD at select retailers. Check out the specific details the shoe, courtesy Sole Collector.

Reebok Alien Stomper Bishop Edition “40th Anniversary”
Release Date: 04/26/19
Color: Scarlet/Snowy Grey/Castle
Style #: DV8578
Price: $180

Reebok "Alien Stomper" Returns For 40th Anniversary  "Alien"


Reebok "Alien Stomper" Returns For 40th Anniversary  "Alien"


Reebok "Alien Stomper" Returns For 40th Anniversary  "Alien"


Reebok "Alien Stomper" Returns For 40th Anniversary  "Alien"


Reebok "Alien Stomper" Returns For 40th Anniversary  "Alien"


SOB x RBE & Hit-Boy Release "Family Not A Group" Album

SOB x RBE have linked up with Grammy winner Hit-Boy for a collaborative album titled Family Not A Group. The new project arrives less than a week after the Bay Area crew released their Roll The Dice EP with EDM producer Marshmello.

Family Not A Group features nine tracks produced by Hit-Boy. Additional production is handled by Chase N. Cashe and G. Ry, among others.

Check out SOB x RBE and Hit-Boy’s Family Not A Group stream, cover art and tracklist below.

SOB x RBE & Hit-Boy Release "Family Not A Group" Album

1. Chosen 1
2. Both Sides
3. Stuck In The Streets
4. Family Not A Group
5. Can’t Fold
6. WYO
7. Ran Off Wit It
8. Young Wild Niggas
9. Scoring

CD Baby/Downtown Inks With Audible Magic for Copyright Protection

CD Baby just inked a partnership with Audible Magic to identify potential rights infringement claims on tracks before distribution.

Infringement claims are becoming increasingly common and contentious.  Now, CD Baby is hoping to address potential issues before they crop up — Minority Report style.

Audible Magic is a digital copyright, licensing, and monetization management company. The company’s software uses algorithms to identify copyright-protected songs quickly.

CD Baby, just recently swallowed by Downtown Music, will begin using Audible Magic on new uploads effective immediately.

Here’s how the pair-up will work.  When an artist uploads files to CD Baby, the Audible Magic ‘RightsRx’ program will scan the file against its library of 30 million samples.  If the track contains potentially copyright-infringing material, CD Baby can flag or flat-out decline the file.

The scanning process reduces the chances of CD Baby receiving a DMCA takedown notice after a track has been published.

CD Baby says the vast majority of tracks will be uploaded seamlessly and ready for distribution.

Downtown Music Holdings and its parent corporation, AVL Digital Group, for roughly $230 million last month.  The new partnership will help CD Baby police its growing catalog of independent artists more efficiently.

CD Baby’s director of digital operations, M.J. Woodis, says the partnership is a necessary step. CD Baby has a 19-person team dedicated to the issue.

“We work closely with DSPs, and it’s often more of a conversation, not just rules laid down. The heart of the matter is not to restrict as we get them music and data, and to enable search and other discovery methods to help our artists. It’s a growing process.”

Last month, CD Baby began offering audio and banner ad opportunities to self-managed and unsigned artists.  At present, the company is one of the largest distributors of independent music with more than 650,000 artists under its umbrella. CD Baby says it manages more than 9 million tracks spread across 100 digital service platforms across the globe.

CD Baby/Downtown Inks With Audible Magic for Copyright Protection

CD Baby/Downtown Inks With Audible Magic for Copyright ProtectionCD Baby/Downtown Inks With Audible Magic for Copyright Protection

CD Baby/Downtown Inks With Audible Magic for Copyright ProtectionCD Baby/Downtown Inks With Audible Magic for Copyright Protection

CD Baby/Downtown Inks With Audible Magic for Copyright Protection

CD Baby/Downtown Inks With Audible Magic for Copyright Protection

'Lady Marmalade' Co-Writer Sues Sony/ATV for $20 Million

Kenny Nolan, one of the songwriters behind the Patti LaBelle hit, ‘Lady Marmalade,’ has filed a $20 million lawsuit against Sony/ATV.

According to filed in the U.S. District Court for the Central District of California, the music publisher owns two sets of songs either written or co-written by Nolan.  He claims, however, to have never made a deal with Sony/ATV.

Nolan allegedly licensed the first set of songs to fellow ‘Lady Marmalade’ co-writer Bob Crewe.  Crewe, in turn, licensed those songs to a company called Stone Diamond.  That company would eventually turn over the songs’ rights with Sony/ATV.

He writes,

Nolan licensed to Crewe all rights under copyright (“Music Publishing Rights”) to Nolan’s undivided 50% interest in and to the copyrights to seventy-seven musical compositions co-written by Nolan and Crewe or written by Nolan…including such standards as ‘Lady Marmalade’ and ‘My Eyes Adored You.’

The Nolan/Crewe Compositions, he continues, were created and registered for copyright on or before January 1st, 1978.

Nolan then entered into an agreement to license the second set of songs – fifty-three musical compositions – between himself, the Wes Farrell Organization, and Coral Rock Music Corp.  Again, as with the first set of songs, the fifty-three works ended up with Sony/ATV.

He writes,

On information and belief in transactions unknown to Nolan…Sony/ATV and EMI acquired or appropriated to themselves the right to administer and collect music publishing revenues from all or some of the Nolan Coral Compositions.”

Nolan lists six causes of action against Sony/ATV.

First, the acquisition of both sets of songs qualifies as a breach of written contract.

Second, Sony/ATV acquired the music publishing revenue without Nolan’s consent.

Third, accounting is “necessary and appropriate” to identify exactly how much the major music publisher owes Nolan.

Fourth, he remains entitled to “specific restitution” of all music publishing rights.

Fifth, Sony/ATV willfully engaged in copyright infringement by acquiring “the exclusive rights” for the songs, and collecting the revenue for each set.

Sixth, despite the major music publisher’s denials, Nolan remains entitled to declaratory relief.

He has demanded a trial by jury, and, as stated earlier, no less than $20 million in damages.

You can view the lawsuit below.


Featured image by Sony/ATV.

Coachella 2019: Top 5 Moments

Coachella is ten thought as the biggest festival in the United States. The space allotted for the event spans several football fields, and from the top the Ferris wheel, you can view 100,000 people enjoying different genres music. Goldenvoice (the company behind Coachella) was well prepared for the masses. discussions and whispers from past festival goers warned this year’s attendees that things would not go smoothly. Festivals are ten chaotic events, but Coachella 2019 was well engineered. Those that made the trek out to the desert were rewarded with unforgettable performances. There were complaints around social media about the lineup, but that sentiment did not appear to dampen the energy or the turnout. 

Coachella 2019: Top 5 MomentsKevin Winter/Getty s for Coachella

There were too many artists performing to catch everything, which is too be expected. Musicians from different backgrounds and genres brought their best to the desert. Surprise performers were in abundance, adding to the lengthy list artists gracing the many stages. Weekend one was the ultimate festival experience, so condensing it down to a list our top five favorite moments was difficult. As the final night the festival concluded though, the performances that resonated the most became apparent. From YG‘s Tekashi diss, to Anderson .Paak soulful performance, these are our favorite moments from Coachella Weekend 1.

Thanks to Streaming, Universal Music Group's Q1 2019 Revenue Jumps 19.2% to $1.7 Billion

Vivendi has just revealed it may sell up to half of Universal Music Group to one or more partners.

Ahead of its upcoming sale of up to 50% Universal Music Group (UMG), parent company Vivendi has posted strong financials for the first quarter of 2019.

The French conglomerate – controlled by billionaire Vincent Bollore – has beaten investor expectations.

UMG’s Q1 2019 revenue totaled €1.5 billion ($1.7 billion), up 18.8% at constant currency over the same period last year.

Driven by higher subscription and streaming revenue, recorded music revenue for the major label jumped 19.2% to €1.2 billion ($1.4 billion).  UMG brought in €737 million ($833 million) in paid subscription and freemium streaming revenue, up 28.1% year-over-year.  Download revenue plummeted 18.2% to €102 million ($115 million).  The major label continues to post healthy physical sales, rising 20.8% to €193 million ($218 million).  Licensing and other revenue rose 15.3% to €174 million ($197 million).

In addition, the major music group’s publishing revenue increased 4.7% to €225 million ($254 million).  Merchandising and other revenue skyrocketed 72.7% to €72 million ($81 million).

Vivendi’s total revenue increased 5.7% to €3.5 billion ($4 billion).  The French conglomerate attributed the growth to the success of its subsidiary, UMG.  Its weakest point proved to be Canal Group.  Vivendi’s TV division’s revenue fell 3.3% to €1.3 billion ($1.4 billion).  In addition, the French conglomerate acquired book publisher Editis.

In-Front Data for Reuters had forecast Vivendi’s revenue would total €3.4 billion ($3.8 billion).

Speaking about the sale of its subsidiary, the company explained it has closely collaborated with UMG’s management teams to sell up to 50% of the major music group’s share capital to one or more partners.  This, explained Vivendi, will accelerate UMG’s development and increase its overall value.

In addition, the French conglomerate will soon complete the process of selecting potential partnering banks and advisors.  PricewaterhouseCoopers (PwC) has been engaged to conduct the ongoing Vendor Due Diligence, an in-depth report of UMG’s financial health.  PwC will complete the report and send it to selected banks.

Maintaining a ‘Buy’ rating on Vivendi’s shares, analysts at Liberum wrote,

Organic revenue growth at 5.7 percent was very strong, driven by over 18.8% organic growth at its Universal Music Group division, with recorded music up over 19% year-on-year organically.

This should bode well for profit growth, given it is driven by streaming, which should have a high (40%) drop through rate to profits.



Hipgnosis Song Fund Raises Over $185MM In Latest Funding Round

Merck Mercuriadis’ Hipgnosis Songs Fund Ltd (HSFL) has announced a new round of funding with gross proceeds of $185m (£141.5m).

Mercuriadis raised over $260m (£200m) in the first round of funding for HSFL last summer. Since then, he’s spent big money to acquire stakes in some of the most celebrated songwriter catalogs in music history.

The growing list includes:

  • (David Guetta)
  • Teddy Geiger (Shawn Mendes)
  • The-Dream (Justin Bieber, Rihanna)
  • (Chris Brown, Justin Bieber)
  • Itaal Shur (Santana)
  • (Chic)
  • Tricky Stewart (Rihanna, Beyoncé)
  • TMS (Jess Glynne, Little Mix)

In addition to those stakes, HSFL also purchased rights to number one songs like ‘Yeah ‘by Usher, ‘Check On It’ by Beyoncé, ‘We Belong Together ‘by Mariah Carey, and ‘Be Without You’ by Mary J. Blige.

Of course, those are monster tracks — which means they also have monster price tags.  But Hipgnosis is betting that the long-term annuities will easily beat the upfront costs (and so do Hipgnosis’ investors).

HSFL’s so far is just shy of $450m, giving Mercuriadis lots of new funds to acquire rights.  The latest funding was raised a sale of shares to a small number of private investors.  The sale was worth 40.7% of HSFL’s ordinary share count.

The funding round was over-subscribed, with Mercuriadis initially only seeking $130m (£100m) in funding.

HSFL is trading on the London Stock Exchange. Mercuriadis has previously stated his goal is to raise £1 billion ($1.3m) within three years.

Mercuriadis says the money will help his company gain significant market share in the global music publishing business.

“Less than a year ago we set out to demonstrate to the financial community that proven hit songs were as predictable and reliable, and therefore as investable, as gold or oil.”

Of course, oil and gold have their ups-and-downs, and oil is a less-certain long-term bet these days.  But you get the idea.

Mercuriadis praised streaming specifically as giving the music industry its “best days in front of it.” Mercuriadis says he believes that great songs and their creators are just as valuable as currency for investors.

Hipgnosis Song Fund Raises Over $185MM In Latest Funding RoundHipgnosis Song Fund Raises Over $185MM In Latest Funding Round

Hipgnosis Song Fund Raises Over $185MM In Latest Funding RoundHipgnosis Song Fund Raises Over $185MM In Latest Funding RoundHipgnosis Song Fund Raises Over $185MM In Latest Funding RoundHipgnosis Song Fund Raises Over $185MM In Latest Funding Round

Hipgnosis Song Fund Raises Over $185MM In Latest Funding RoundHipgnosis Song Fund Raises Over $185MM In Latest Funding Round

Smokepurpp Unleashes A Thirty-Seven Minute Freestyle Odyssey

Fresh f the release a melodic new drop called “Remember Me,Smokepurpp has stepped overseas to set Tim Westwood’s studio ablaze. Taking a page out Juice WRLD’s playbook, Purpp decided to freestyle for nearly forty minutes, opting to go f-the-dome. While that might be a gamble to some, others recognize the merit in preserving the lost art spontaneous bars. Ever the good sport, Westwood proceeds to bless Purpp with no shortage instrumentals, including “XO Tour Life,” “Duppy,” “ZEZE,” “Roll In Peace,” and many more.

Smokepurpp Unleashes A Thirty-Seven Minute Freestyle Odyssey

Mike Coppola/Getty s 

For the most part, Purpp tackles each beat with a noted lack finesse. Yet the rawness with which he spits is part the charm; you’ve gotta admire a man willing to brave uncharted waters on live radio. Though he’s hardly breaking lyrical barriers, every so ten he stumbles upon a dope flow, catching fragmented lyrics and building greater schemes around them. True, dying-cat dips into falsetto occasionally derail the ship, Purpp does occasionally stumble upon a few gems throughout the journey.

Check out Purpp’s exercise in lyrical gymnastics below. Is the young man deserving an A-for-effort? Before doling out judgment, perhaps you oughta step to the mic and take up the challenge. Though Black Thought he is not, Purpp deserves credit for taking a risk and having some fun in the process. Did he deserve some bombs dropped in his honor?

Trippie Redd Claims Biting Young Thug Is The Secret To Success

Trippie Redd appears to have dusted f his contemporary hip-hop family tree, as the young rapper has come to an epiphanic conclusion. In short, he may very well have discovered the elixir success, which is to say, biting Young “Jeffery” Thug’s unimitable style. 

“I’m telling you, the only way you ever gon’ be anything in this industry, is if you make yourself sound like Thug. You trash when you don’t sound like Thug. Just sound like Thug.” In other words, Redd is essentially claiming that Thug fathered the entirety the game – or at least, those currently dominating the charts. While the claim is certainly riddled with hyperbole, Trippie is indeed raising an interesting point. Thug’s influence should not go unnoticed, be it for a variety levels.

For one, Thugger’s melodic flows can be heard within the DNA many-a contemporary banger. Likewise for his malleable cadence, which has many a youth turning in double duty on their vocal inflection drills. Though Thugger has never been much a Billboard chart magnet, his prolific nature and versatility have kept him ahead the curve; be it the hard-hitting Slime Season series, the masterful and occasionally island-tinged Jeffery, or even the countrified Beautiful Thugger Girls (which I’d bet Lil Nas X had on repeat prior to laying down “Old Town Road). 

Do you think Trippie has a point? Sound f below. 

Trippie Redd Claims Biting Young Thug Is The Secret To Success

Prince Williams/Getty s

Stream Anderson .Paak’s Album ‘Ventura’

Six months after the release of his last album, Anderson .Paak returns with Ventura, the fourth and final chapter in his beach-themed series.

Executive produced by Dr. Dre, the follow-up to November’s Oxnard boasts appearances from OGs like André 3000, Smokey Robinson, and the late Nate Dogg. Additionally, the 11 tracks feature R&B powerhouses including Brandy, Jazmine Sullivan, and Lalah Hathaway.

The album, which .Paak calls “the last wave,” was recorded at the same time as Oxnard. “Growing up in Oxnard gave me the grit and the church to find this voice of mine,” said the Grammy winner. “One town over I went further and found my depth. The duality of each place inspired me greatly and from that I made two albums at the exact same time but held one back because that would have been too many songs to perform live for you all! I like ending things on an even number so welcome to Ventura.”

Following his Coachella performance on Friday night, .Paak is set to hit the road on his “Best Teef in the Game Tour.” The 21-date trek kicks off May 17 in Nashville with Thundercat, Earl Sweatshirt, Noname, Mac DeMarco, and Jessie Reyez on select dates.

Stream Ventura below.