Since the beginning of 2025, the live music sector has been in constant evolution, driven by a wave of innovation. It now stands as one of the most dynamic, and most viable, branches of the music industry. At the same time, tensions between various players are on the rise, often resulting in legal disputes and court proceedings. Here’s a closer look at what’s happening today.
#1. Tomorrowland Breaks Records on TikTok
With over 74 million unique viewers across two weekends, Tomorrowland’s livestream on TikTok shattered all previous records on the platform. This marks an astonishing 362% increase compared to the 2023 edition. By streaming continuously from multiple stages and hosting a dedicated content studio on-site, TikTok fully leveraged one of the platform’s most popular genres: electronic music.
The event also delivered a major boost for participating artists, who gained over 3 million new followers and generated 580 million video views. This operation reinforces TikTok’s strategy to position itself as a key player in live music and to deepen its global partnerships with major events in the industry.
#2. Sony Music sues Napster for massive copyright infringement
Sony Music Entertainment has filed a lawsuit against Napster, accusing the platform of failing to pay over $9.2 million in royalties and licensing fees, and seeking up to $37.5 million in damages for copyright infringement. The complaint, filed in New York, also targets Napster’s parent companies, Rhapsody International and Infinite Reality, the latter having acquired Napster in March. Sony claims Napster continued to exploit its recordings after contracts had been terminated, while still collecting subscription fees from millions of users.
The case adds to mounting legal pressure on Napster, which was also sued in June by SoundExchange for unpaid royalties. For Sony, this lawsuit marks yet another front in its ongoing efforts to defend its rights against platforms that default on payments—despite Napster’s recent acquisition by a tech startup valued at over $12 billion.
#3. The Fan: A Cultural Participant, Not Just a Consumer
Far from being a simple label or a one-time purchase, fandom is an active practice, a deep engagement that develops over time. In an era dominated by algorithm-driven content, these deliberate and passionate actions become a form of resistance against passive consumption, restoring meaning and value to the cultural experience.
This perspective on fandom calls on artists, platforms, and brands to rethink their strategies. Rather than focusing solely on immediate monetization of attention, they should create environments that encourage participation, co-creation, and discovery. Today’s fan is not just someone who buys, but someone who invests time, emotion, and energy. It is through this intensity that lasting loyalty is built.
#4. Hybe sustains growth through concerts and Wewerse
Hybe reported a 10.2% increase in revenue for Q2 2025, reaching over $509 million. This growth is driven by strong concert activity, merchandise sales, and its fan platform Weverse, which saw a 46% surge in fan-generated revenue. Live performance revenue alone rose by 31% year-over-year, offsetting a slight 8.4% decline in recorded music revenue.
At the same time, Hybe is continuing its international expansion, with plans to grow in Latin America and India, and is restructuring its U.S. operations to focus more heavily on label activities.
#5. Fifty Fifty: A $14 Million Lawsuit Shakes Up the K-pop Industry
On September 11, a high-profile trial will begin in Seoul between K-pop agency Attrakt and Warner Music Korea. The civil suit, filed by Attrakt, seeks 20 billion won (approximately $14 million), accusing Warner of attempting to lure former members of the girl group Fifty Fifty into breaking their exclusive contracts to join Warner instead. Warner denies any wrongdoing, but the case could set a significant precedent in the regulation of South Korea’s music industry.
This lawsuit is the latest in a string of legal battles surrounding Fifty Fifty. In 2023, three members of the group attempted to terminate their contracts with Attrakt, but the court ruled against them, leading to their removal from the group. Meanwhile, in May, Attrakt also lost a copyright case over the group’s hit single "Cupid," which was ultimately awarded to production company The Givers, also suspected of playing a role in the alleged poaching attempt.
