Nashville’s Sidecar Releases New Single “Fine”

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Nashville-based Americana/roots-rock band Sidecar has released a new single, “Fine,” now available on streaming platforms. The band describes the track as an expansion into more stylized, acoustic-leaning territory while retaining the storytelling and full-band sound of their earlier work.

Formed in 2025, Sidecar features Gabe Gowen on lead vocals, Anders Hansson on lead guitar, Ben Jones on bass, Jeff Ward on keys and Dylan Duffy on drums, all veterans of Nashville’s music scene. The band cites influences spanning Americana, classic rock and indie roots music.

Sidecar has been touring throughout the year in support of the new music, with dates including a September 18 stop in New York and a run through South Carolina in October, including shows in Charleston, Bluffton and Hilton Head.

Based on a press release provided to Music Industry Weekly by Sarah (faccipr.com).

Sophia Lynn Releases New Single “Colors”

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Nashville-based alternative-pop artist Sophia Lynn has released a new single, “Colors,” available now on all platforms.

The song follows previous releases “Bittersweet” and a featured credit on “2 Young.” According to the announcement, Lynn draws inspiration from artists including Lizzy McAlpine, Mazzy Star and Olivia Rodrigo, blending bedroom-pop textures with cinematic storytelling. She is also known for her connection to Dirty Heads frontman Duddy B, though the release emphasizes her work as distinct from that association.

The single arrives as Lynn graduates high school and continues building her catalog with new music and collaborations.

Based on a press release provided to Music Industry Weekly by Sarah (faccipr.com).

Charlie Puth Scraps 2026 Australia and New Zealand Arena Tour

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Charlie Puth has canceled his planned 2026 arena tour dates across Australia and New Zealand. No explanation for the cancellation has been given.

Further details on refunds or any rescheduling have not been released. Additional information is expected as promoters and venues respond.

Read the full story at Billboard.

SoundExchange, UAE’s MusicNation Sign Reciprocal Royalty Deal

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SoundExchange has entered a reciprocal agreement with MusicNation, the UAE’s neighboring rights collective, establishing a two-way flow of royalty payments between the two markets. Under the deal, artists and rights holders represented by SoundExchange will now be paid when their recordings are broadcast in the UAE.

In turn, Emirati performers and rights holders affiliated with MusicNation will receive royalties for airplay of their music in the United States. The agreement extends the neighboring rights royalty system, which compensates performers and copyright owners for broadcast and public performance use of recordings, into a new bilateral relationship between the two organizations.

Read the full story at Music Business Worldwide.

Sound Designers and SFX Libraries Form Alliance to Combat AI Scraping

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A group of sound designers and sound-effects libraries has launched the Professional Sound Alliance, a new organization aimed at protecting sound assets from unauthorized use by AI companies. The group says it was formed to address two specific threats it labels Data Piracy and Sync Piracy, both tied to the unlicensed use of sound recordings in training AI models and other applications.

The Alliance represents an effort by an often-overlooked corner of the audio industry to secure the kind of protections that music rights holders have pursued against AI developers scraping copyrighted material without consent or compensation. Organizers say the move gives sound professionals collective leverage to push back against unauthorized data harvesting.

Read the full story at Music Business Worldwide.

Oasis Ditches General Onsale for 2027 Tour, Requires Fan Registration

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Oasis will not hold a traditional general onsale for its 2027 live dates. Instead, the band is limiting ticket access to fans who registered through oasisinet.com during a window that ran from September 14 to September 17, closing off the open queue system typically used for major tours.

The move marks a departure from standard onsale practice for arena and stadium-level tours, where unrestricted general sales often trigger bot activity, resale markups and site crashes. By funneling all access through pre-registration, Oasis and its promoters appear to be aiming for tighter control over who can buy tickets and at what price.

The approach could set a precedent for other major acts looking to curb scalping and secondary-market inflation, though it also raises questions about transparency and fairness for fans who did not register in time.

Read the full story at Music Business Worldwide.

Universal, Sony File Second Copyright Suit Against Suno Over V6 Models

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Universal Music Group and Sony Music have filed a second lawsuit against AI music platform Suno, arguing that its newer V6 models are built on the same unlicensed training data at issue in their original case. The labels describe the updated technology as “the fruit of the same poisoned tree,” extending their infringement claims to Suno’s latest product generation.

The complaint covers 60,202 recordings. Under US copyright law, willful infringement carries statutory damages of up to $150,000 per work, putting the theoretical maximum exposure at just over $9 billion.

The filing adds to the mounting legal pressure on AI music generators from major labels, who have argued that platforms like Suno trained their models on copyrighted recordings without authorization or compensation.

Read the full story at Music Business Worldwide.

Universal Music Sues DistroKid as UMG, Sony Escalate Suno Legal Fight

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Universal Music Group has filed suit against distribution platform DistroKid, marking the first legal action between the two companies. Details of the specific claims were not disclosed in the roundup, but the move adds a new front to the major label’s ongoing legal activity across the industry.

Separately, UMG and Sony Music have renewed litigation against AI music generator Suno, continuing a dispute that began in 2024 over allegations the company trained its models on copyrighted recordings without authorization. The fresh filings suggest the majors are intensifying pressure on AI music platforms rather than settling.

Both stories were part of a broader weekly news roundup covering additional developments across the recorded music and publishing sectors.

Read the full story at Music Business Worldwide.

Alex Hirsch Tackles Cold War Anxiety on New Single “Does Anybody Care?”

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Michigan-based artist Alex Hirsch has released “Does Anybody Care?,” a piano-and-saxophone track written by longtime collaborator Carl Paradise that draws on Cold War-era “duck and cover” drills and references the Doomsday Clock to connect that history with present-day anxieties, according to the announcement.

The song follows the pair’s recent single “Memory Lane” and marks a shift in tone for the collaboration, according to the announcement, with the arrangement moving toward a Steely Dan-influenced sound that Hirsch has drawn on since discovering the band as a child in Reseda, California. Hirsch takes lead vocals, backed by Tripp Sprague on saxophone and horns, Jen Gomes on harmony vocals, and Paradise contributing harmony vocals, keyboards, horns and percussion. Mark Hattersley plays piano, keyboards, drums and percussion, with Dave Buerger on bass.

Hirsch, Paradise and Hattersley produced, arranged and mixed the track together. Hirsch has been playing guitar and piano since 1976 and cites the Beatles, Jimi Hendrix and Steely Dan among his formative influences.

Based on a press release provided to Music Industry Weekly by Eric Alper, thatericalper.com.

THE ELEM Releases New Single “Who’s There?” Ahead of Debut EP

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THE ELEM, the transatlantic rock project led by songwriter and producer M.L. Leichter, has released a new single titled “Who’s There?” The song follows the project’s previous release, “Could It Be Me?,” and is written from the perspective of a grandchild reflecting on a late grandfather, drawing on Leichter’s own experience growing up secular alongside a devoutly religious grandparent.

According to the announcement, the track moves through several musical sections, including an ambient string-and-guitar intro, taiko drums, distortion guitar, march drums and brass, before closing with a chant that builds into a full choir arrangement. Mike Fraser mixed the track at Armoury Studios in Vancouver, with mastering by Billy Joe Bowers at Casa de Amor in Tucson, Arizona, and artwork by James Marsh.

THE ELEM was founded in Portugal in 2025 as a remote collaborative project centered on Leichter, with music spanning rock, alternative, indie and pop. “Who’s There?” will appear on the project’s debut EP, “Perhaps, It’s Me,” set for release on November 16.

Based on a press release provided to Music Industry Weekly by Eric Alper, thatericalper.com.