Category: Entertainment

Epic Records president Ezekiel Lewis has been promoted to CEO and chairman of the record label, parent company Sony Music Entertainment announced on Monday. Lewis will report to Sony Music Group chairman Rob Stringer.

The move comes about six months after former Epic CEO Sylvia Rhone stepped down from her post, after first joining as president in 2014 and getting the CEO appointment herself in 2019. Given that she was one of the oldest major label CEOs, Rhone’s retirement was a frequent area of speculation among industry insiders, and many had seen Lewis as a natural successor at the label given how pivotal a role he’s played at the label for years. He’s ran Epic’s A&R department since 2018, and he was named president at the label in 2023. In his tenure at Epic, he’s worked with a wide range of acts including Meghan Trainor, Madison Beer, 21 Savage, Future, Zara Larsson and Tyla among others.

“I am truly humbled by the trust Rob has placed in me to lead this incredible label,” Lewis said in a statement. “Music has always been about the artist, their vision, their voice, their story. Everything we build here starts and ends with that belief. My focus, from day one, is to make this the best home for recording artists anywhere in the world. In a digital-first landscape full of noise and distraction, we have an opportunity to cut through and give creators something rare: a place where they are genuinely seen, supported, and set up to thrive. That is the mission, and I do not take it lightly.”

With his appointment, Lewis is now the second Black CEO in the major label system, joining Def Jam’s Tunji Balogun. Before joining Epic, Lewis was senior vice president of A&R at Motown Records, where he worked with acts including Ne-Yo, Erykah Badu and Migos among others.

 “Through his experience and knowledge in a senior creative capacity at Epic over the last eight years, Zeke is eminently qualified to take the label forward as its leader,” Stringer said in a statement. “Not only I am very pleased to make an appointment like this based on the executive growth of an internal candidate, but also because Zeke is highly respected and trusted by the artists and staff at Sony Music. I look forward to working together with him and his team on magnifying the musical vision of Epic Records.”

Global streaming subscription revenue surpassed $150 billion for the first time in 2025, according to a new survey from Ampere Analysis, which highlighted that as “a major milestone” for the subscription market. And streaming subscription revenue will hit $202 billion by 2030, up 29 percent, “as streamers shift focus from subscriber growth to price increases and ad-supported tiers,” the research firm predicted on Monday.

“While international expansion remains an important driver of the market, platforms are increasingly focusing on monetization through price increases and the rollout of ad-supported tiers, particularly in mature markets,” Ampere emphasized in its latest report. “As ad-free subscriber numbers stabilize, hybrid subscription and advertising models are playing an increasingly important role in revenue growth.”

Global streaming subscription revenue jumped 14 percent in 2025 to reach a total of $157.1 billion. That amounts to a tripling over the past five years from $50 billion in 2020. “The international expansion of global streaming services, the rollout of ad-supported tiers, and consistent price increases across major platforms have contributed to the increase,” Ampere noted.

Including advertising revenue, streaming services generated $177 billion in revenue worldwide in 2025, Ampere said, putting ad revenue at around $20 billion. The share of total revenue of subscription streamers from ad tiers has risen “rapidly” over the past five years, up from less than 5 percent in 2020 to 28 percent in 2025, the Ampere research highlighted.

“As adoption of ad tiers grows and platforms expand their ad loads, advertising is expected to become an increasingly important revenue stream, adding a further $42 billion in annual revenue by 2030,” the company estimated.

The U.S. remained the largest driver of the streaming sector last year, accounting for 50 percent of global streaming subscription revenue in 2025, according to the research firm. “Netflix is the largest contributor in the U.S. market, with revenues up by 14 percent in 2025 following an across-the-board price increase at the start of the year,” Ampere explained. “In more crowded markets such as North America and Western Europe, the next phase of expansion is increasingly driven by ad-tier subscriptions.”

Concluded Lauren Liversedge, senior analyst at Ampere: “As the streaming market matures, the emphasis is no longer on pure subscriber growth but on extracting greater value from existing audiences. Price optimization and the rise of ad-supported tiers are driving revenue growth, particularly in the most competitive markets.”

Legendary folk singer and songwriter Joni Mitchell made a rare public appearance in Canada at the Juno Awards on Sunday night, where she received a lifetime achievement award.

Canadian-born Mitchell appeared on stage at her country’s music awards alongside the country’s prime minister, Mark Carney, whom she praised. “I’m so glad to be back in Canada. This man is a blessing. You guys are so fortunate,” she added in tribute to Carney while he was at her side on stage in Hamilton, Ontario.

Mitchell, who lives in Los Angeles, added in a note of contrast: “I’m living in the States and you know what’s happening there.” The legendary musician while on stage also recalled a decade earlier when she “had a (brain) aneurysm, which changed my life. Oddly, for the better. I went into a coma, which helped me to quit smoking. And my house filled up with the most wonderful nurses. I was, on the road with men for years and years; now I live with a house full of women. So my life has changed for the better out of a catastrophe like a phoenix.”

For his part, Carney said of Mitchell during his tribute broadcast countrywide on the CBC network: “During a career spanning six decades, Joni drew a map of of Canada. Oh Canada.” Also Sunday night, during a Junos awash in Canadian nationalism, award show host Mae Martin, a non-binary comedian and actor who created and stars in Netflix’s Wayward series, welcomed returning home to Canada after touring her comedy act in the U.S.

“I just feel like I’m with my people, you know, people who care more about which hockey team I support then which gender I am… Coming back to Canada after living in the U.S., it feels like seeing your old friends after you’ve been in a toxic relationship that you just got out,” Martin said when taking a few swipes at Americans to the south.

Martin also pitched while on stage fellow Canadian Nelly Furtado on a video cover of her hit song “Promiscuous,” which she would retitle “Promiscuous They/Them.” “The video could be good. It’s me in sensible jeans, trying to decide which bathroom to use,” Martin added.

Also at the Junos, Canada’s version of the Grammys, The Beaches all-women rock band took home the prize for best group of the year, after winning n the same category in 2024 and 2025. “I promise you all I’ll keep working hard and I’ll stay sober,” Cameron Whitcomb said on stage after winning for breakthrough artist or group of the year with his debut album, The Hard Way, which has lyrics about his addiction and recovery journey.

In other prize giving, the best contemporary R&B recording of the year trophy was picked up by Toronto singer-songwriter Daniel Caesar for “Son of Spergy,” a tun inspired by his father. And the Juno Fan Choice Award went to Canadian rapper Alexander Leon Gumuchian, also known professionally as BBNO$.

In pre-telecast award giving, Tate McCrae, who was a no show at the Junos, won the best album of the year for So Close to What, best artist of the year, best single of the year for “Sports Car” and pop album of the year.

Another emotional high point during the Junos came when “I’m Like a Bird” singer and Latin Grammy winner Nelly Furtado was inducted into the Canadian Music Hall of Fame, a tribute preceded by a pre-taped video tribute by Drake.

“Being a woman in the music industry, in any era, is something that I have to tip my hat to. The men in this business do not make it any easier. I think what was most impressive to me is the respect that all men had when they spoke about you,” the Canadian superstar said of Furtado.

That was followed a series of hits by the Portuguese-Canadian songstress performed on stage at the Junos by Alessia Cara, Jully Black, Shawn Desman and Tanya Tagaq. When accepting her career tribute, Furtado told the Junos audience: “I’m just really proud to be Canadian. I live in Canada. I make my music in Canada. And I work with Canadian musicians, songwriters and producers because I totally believe in the Canadian dream. Please believe in it, too.”

In other prize giving, the MusiCounts Teacher of the Year Award to Raquel McIntosh from Adelaide Hoodless Elementary School in Hamilton.

John Oliver kicked off Sunday’s Last Week Tonight by mocking President Trump for his justification of avoiding the use of the word “war” amid the United States’ military operation in Iran.

“The Iran war entered its second month, though Trump tries not to use the word ‘war’ for reasons he probably shouldn’t be saying out loud,” Oliver said, setting up a clip of Trump explaining why he isn’t using the term.

“I won’t use the word ‘war’ because they say if you use the word war, that’s maybe not a good thing to do,” Trump said. “They don’t like the word war because you’re supposed to get approval, so I’ll use the word ‘military operation,’ which is really what it is.”

Responded Oliver: “What? He really just talks like a 6-year-old speaking stream-of-consciousness to a stranger: ‘And my mum says I’m not allowed to talk about my penis with other people, even though everybody has one, well, not her and not my sister, but my dad and I both have penises, but I can’t say that when there are too many people around, even though everyone knows ’cause they have their own penises unless they don’t, but I do.’” 

Oliver then said that no matter what word is used to describe the conflict, “it has been chaos.” He recapped recent developments, including Trump threatening to attack Iran’s power grid if the Strait of Hormuz remains closed, posting on social media that he’d be “starting with the biggest” power plant first. That “would be a war crime if this was a war, but luckily we now know it isn’t,” Oliver observed. 

Oliver continued that Trump then said those strikes would be delayed after fruitful conversations with Iran, which the latter denied have even taken place. Trump then extended the deadline to April 6, though Iran has been bombing U.S. bases and allies. He noted that 2,000 Iranians and 13 U.S. service members have been killed so far, while Trump is reportedly mulling sending another 10,000 troops to the region.

“It sure feels like we’re in an unnecessary war with no endgame, though the president’s supporters will insist that if you just look at things in the right way, it all makes sense,” he said, showing a clip of Louisiana Sen. John Kennedy, a Republican, giving his take.

“Here’s why we went into Iran: We had no choice,” Kennedy said. “The president didn’t start a war. He … was trying to stop a war.”

Said Oliver: “Oh, I get it. Sometimes you have to start a war to stop a war. The same way you have to ‘spend money to make money’ or ‘fake it ’til you make it’ — you know, any of those things that people say when they’re in way over their heads.”