It all begins with a song, goes the music business maxim.
Getting paid for a song all begins with the copyright, say the lawyers.
The ability of creators to protect their work through copyright is so fundamental that the legal concept appears in the U.S. Constitution, which grants Congress the power “to promote the Progress of Science and useful Arts.”
The Founding Fathers, however, never anticipated generative artificial intelligence.
Generative AI tools used in music have evolved by ingesting massive amounts of data about songs originally created — and copyrighted — by songwriters, artists, recording companies and music publishers. It is transformational technology — but some have called it digital theft.
Related
‘The Implications Are Global’: International Music Publishers Welcomes Australian Government’s ‘Landmark’ Statement on AI
Desiigner Arrested on Domestic Violence Charge in South Carolina
DJ Quik Says His Son 'Made a Mistake' Following Murder Conviction, Pleads With Fans to Stop Asking About It
What’s undeniable is that the issue has consumed the legal community’s attention in recent years, including many of the attorneys chosen for Billboard’s 2026 Top Music Lawyers list.
The attorneys listed here — nominated by their firms and peers and chosen by Billboard editors — guide superstars and industry-driving companies. They negotiate recording deals, global tours and catalog sales, and their legal savvy is essential to the music business now more than ever.
“I am sure it comes as no surprise to anyone that artificial intelligence continues to present the most important legal issues facing the music industry,” says Venable partner J. Douglas Baldridge, who has also worked as the in-house counsel for Taylor Swift’s 13 Management.
A little more than two years ago, the three major music groups — Universal Music Group, Sony Music Entertainment and Warner Music Group — were each plaintiffs in lawsuits against leading music AI companies Suno and Udio, alleging their technology had unlawfully copied the groups’ songs to train AI models to generate music that could “saturate the market with machine-generated content that will directly compete with” human artists.
Many AI companies argue that copyright law’s fair use doctrine protects such training, because it transforms those millions of songs into something entirely new. But musicians and labels say that provision was not intended to allow a trillion-dollar industry to be built on the backs of unpaid artists.
Warner Music Group has since struck licensing deals to settle its suits against Suno and Udio, while Universal has done the same with Udio. Sony and Universal continue their legal actions against Suno while Sony is still in court against Udio.
Music companies and trade groups, trying to avoid the mistakes of previous technological revolutions and recognizing it’s better to pay copyright owners than lawyers, have increasingly sought partnerships in which AI content can be licensed with limits on how the technology can be used. Most recently, the National Music Publishers’ Association announced licensing deals with Udio and KLAY, another AI company.
But some music creators have responded to such licensing moves by urging caution.
In late June, a worldwide coalition of artists, songwriters and managers’ groups released a letter aimed at record labels and publishers forming AI music licensing deals. They object to the rise of contracts that ask them to give up their rights over how AI uses their work, among other concerns.
“The future of music,” their letter states, “must be built with artists, songwriters and their representatives, not imposed on them.”
And if music creators disagree with how AI is deployed, expect them to call their lawyers.
Music GroupsSony Music Entertainment
Susan MeiselExecutive vp of corporate deputy general counselJames MullanExecutive vp of international business and legal affairs/international general counselJeff WalkerExecutive vp/head of business and legal affairs, global digital businessStephanie YuExecutive vp of business and legal affairs lead for U.S.David JacobySenior vp/head of U.S. litigationRichard KatzSenior vp/chief employment counsel/global ethics and compliance officerMichael RobersonSenior vp of U.S. business and legal affairsJennifer WomackSenior vp/head of business and legal affairs and production operations
Formerly of Sony Music Entertainment
Julie SwidlerFounder, Launchpad Advisors; former executive vp of business affairs/general counsel, Sony Music Entertainment
Universal Music Group
Jeff HarlestonGeneral counsel/executive vp of business and legal affairsMartha BraithwaiteExecutive vp of business and legal affairsSaheli DattaExecutive vp/chief compliance officer/employment counselJason KawejszaExecutive vp/head of business and legal affairsNicola LevyExecutive vp of digital business affairsAlasdair McMullanExecutive vp of business and legal affairs/head of litigation
Warner Music Group
Paul RobinsonExecutive vp/general counselBrad CohenSenior vp/associate general counsel/head of litigationDanielle DavisSenior vp/head of mergers and acquisitions, corporate legalMatt FaginSenior vp/head of digital legal affairsMaryrose ManessSenior vp/deputy general counselTrent TappeSenior vp/deputy general counsel/chief compliance officerRob FaulstichVp of business and legal affairs
StreamingAmazon Music
Stephen WorthHead of legal/associate general counselJon CohenSenior corporate counselCyrus AfsharAssociate general counsel/director
Apple
Robert WindomChief content counselAdam BlakenheimerPrincipal counsel, Apple Media ServicesElizabeth MilesSenior legal director, Apple Media Services
iHeartMedia
Jon KurlandExecutive vp of business affairs/chief entertainment counsel
SoundCloud
Ama WaltonGeneral counsel/chief people officer
Spotify
Kevan ChosetGeneral counselDarren SchmidtAssociate general counsel/global head of record label licensingSofia SheppardAssociate general counsel/head of global licensing and business developmentSean StolperAssociate general counsel/global head of music publishing
YouTube/Google
Kevin MontlerVp of legal, global music and aggregated licensing
LiveAEG Presents
Shawn TrellExecutive vp/COO/general counsel
Live Nation Entertainment
Michael RowlesExecutive vp/general counsel
Music PublishingSony Music Publishing
Peter BrodskyExecutive vp of business affairs/general counselMichael AbitbolSenior vp/head of U.S. digitalCam CaldwellSenior vp of business affairs, Sony Music Publishing NashvilleNicole GiaccoSenior vp of business and legal affairs/ethics and compliance officerDavid PrzygodaVp of litigation
Universal Music Publishing Group
Stephen DallasSenior vp of business and legal affairs, global digital strategy and business developmentDon GlistaVp of business and legal affairs/Nashville business development and operationsKerrigan HenningsIra HoffmanVps of business and legal affairsAngelica MeridaVp of business and legal affairs, international and digital development
Warner Chappell Music
Peter RosenthalExecutive vp of global legal and business affairs/general counselSteve ButlerHead of legal and business affairs for North AmericaChris HeadTim MeadeSenior vps of legal and business affairsDanielle ElyVp of digital legal affairs
Rights GroupsASCAP
Clara KimExecutive vp/chief legal and business affairs officer
BMI
Stuart RosenFormer senior vp/chief legal advisor (retired)
Global Music Rights
Emio ZizzaGeneral counsel
Mechanical Licensing Collective
Rick MarshallGeneral counsel
SESAC Music Group
Christos BadavasExecutive vp/general counsel
AssociationsMerlin
Ryan McWhinnieSenior vp of business and legal affairs
National Music Publishers’ Association
Danielle AguirreCOO/Chief legal officer
Aguirre Courtesy of Danielle AguirreAs Danielle Aguirre walked onstage at the annual meeting of the National Music Publishers’ Association in New York on June 10, the sound system played two deep, familiar notes: “dun dun.” The audience laughed in recognition of the Law & Order theme.
A 15-year veteran of legal battles at the NMPA, Aguirre is proud of the work her team has done “in negotiating the first industrywide AI agreements for independent music publishers,” she says.
The NMPA does not shy away from taking legal action against AI companies when necessary, “and I credit many of our member publishers for protecting their rights — and by extension the rights of all publishers — in court,” Aguirre says.
“But I also know there is a place, and in fact a necessity, to move forward with good actor AI companies as business partners,” she continues. “NMPA wants to ensure those opportunities are available to all music publishers — that is what our deals with Udio and KLAY seek to accomplish.”
AI is far from the only legal matter demanding Aguirre’s focus: “Streaming fraud is a massive problem that requires more attention,” she says. “While it has always been an issue, the rise of AI has led to an ability to conduct fraud on an unprecedented scale on digital platforms. It’s an issue that is costing the industry billions and it’s time for all parties to sit down and find solutions.”
As an attorney practicing in the music industry, Aguirre is also a fan.
“I absolutely loved Tracy Chapman’s performance at the 2024 Grammys,” she says. “ ‘Fast Car’ is iconic and personally meaningful, and for me, her voice has always been what makes that song so beautiful and impactful. That was a pinch-me moment.” —THOM DUFFY
RIAA
Jacob TracerActing chief legal officer
Talent And LitigationAdams and Reese
Richard S. BuschCounsel
The Advisory L.A.
Sara FrischManaging partner
Agnifilo Intrater
Marc AgnifiloTeny GeragosPartners
Alter Kendrick & Baron
Lisa AlterKatie BaronPartners
The Altschul Firm
Jonathan AltschulManaging attorney
Anthony Law Group
Gerard AnthonyFounding partner
ArentFox Schiff
Matt FinkelsteinPartner/head of music practice
Arrington & Phillips
Marvin Arrington Jr.Vince PhillipsFounding partnersAurielle BrooksPartner
Barnes & Thornburg
Jason KarlovPartner/entertainment, media and sports practice group chairCarron MitchellBrian SchallAmanda TaberFarrah UsmaniPartners
Law Offices of David Bercuson
David BercusonFounder/president
Boyarski Fritz
Jason BoyarskiDavid FritzFounding partnersAlex StollsPartner
V. Brown & Associates
Vernon BrownFounder/president
BTriggLaw
Brittney TriggFounding partner
Buchalter
Lauren M. SpahnPartner
Buser Legal
Matt BuserFounder/managing partner
Carroll Guido Groffman Cohen Bar & Karalian
Rosemary CarrollMichael GuidoElliot GroffmanRobert CohenGillian BarRenee KaralianIra FriedmanPaul GutmanCeline HollenbeckDavid KeadyJenna Akemi KonPartners
Carroll Courtesy of Rosemary CarrollFew women in music law have had the longstanding influence and impact of Rosemary Carroll.
When the Los Angeles Times ran a story on rising female forces in the music business under the headline “Attacking the Old Boys From the Outside,” Carroll was one of the influential women the newspaper cited — in 1994.
When fellow Top Music Lawyers honoree Dina LaPolt held a book party in New York this past winter to celebrate the publication of her memoir, she shouted out Carroll as an inspiration.
And when Carroll celebrated her birthday, longtime client Patti Smith wrote on Instagram: “This is my dear friend, lawyer and representative, Rosemary Carroll,” describing the attorney as “my fierce and gentle protector.”
But ask Carroll to highlight recent achievements in her legal career and she’ll demur, for the privacy of her clients. “With all respect, I’m not going to answer this question because I don’t want to name my clients or discuss their contractual status,” she says.
When asked about the most pressing issue in the music business, however, Carroll is forthcoming and direct: “The most important legal issue facing the music industry today is the same as the issue facing all industries and, indeed, all sentient beings: how to curtail our country’s incipient slide into fascism, which is sponsored by MAGA, hastened by the failure of many of our elected leaders to mount an effective resistance and allowed by our own complacency,” she says.
When asked to cite a favorite recent musical moment, Carroll’s response is not surprising. At “People Have the Power: A Celebration of Patti Smith,” held at New York’s Carnegie Hall in March 2025, “it was interesting to watch artists who’ve been influenced by Patti pay their respects to her by reading her words and performing her songs and [then] after that, it was energizing, exciting and inspiring to watch Patti’s performance.” —T.D.
Carter and Woodard Entertainment & Sports Law Firm
Uwonda CarterDonald WoodardFounding partners
Christian L. Castle
Chris CastleFounder
Cataliotti Law
Michael CataliottiPrincipal attorney
CDRK Law
Ciara D. ReedFounding attorney
The Law Offices of Robert A. Celestin
Robert A. CelestinFounding partnerAlicia Ferriabough TaylorPartner
Clintons
Andrew MyersPrincipal/CEOBerkeley EdwardsPrincipal/head of musicPeter ButtonAlastair KenwoodSam SparrowNicky SteinVictoria WoodPrincipals
Cohen & Gresser
Jeffrey MovitPartner
Covington & Burling
Adrian PerryPartner/co-chair of music industry group/co-chair of entertainment and media industry groupNeema SahniPartner/co-chair of music industry group/co-chair of entertainment and media industry group/co-chair of commercial litigation practice/vice chair of sports industry groupJonathan SperlingPartner/chair of music industry groupPhillip HillOf counsel
Cowan Liebowitz & Latman
Richard S. MandelShareholder
The Davis Firm
Doug DavisFounder
Jonathan D. Davis
Jonathan D. DavisShareholder
Davis Wright Tremaine
Peter AndersonPartner
Delgado Entertainment Law
Krystle DelgadoFounder/managing attorney/entertainment and music litigation counsel
DLA Piper
Robert J. ShermanPartner/chair of entertainment finance practiceClaire HallPartner/co-head of structured finance
Donahue Fitzgerald
Daniel SchachtPartner/chair of the music and entertainment practiceAndrew MacKayManaging partner
Duggan Bertsch
Timothy Liam EpsteinPartner
Eisner
Dan ShulmanManaging partner of New YorkJordan GutglassEvan KraussOwen SloanePartners
The Findling Law Firm
Drew FindlingFounding partner
Fischbach Perlstein Lieberman & Almond
Robert H. LiebermanPartner
Fox Rothschild
Heidy VaqueranoCo-chair of entertainment and sports law departmentKenneth J. AbdoPaul N. Bowles IIICynthia L. KatzTim MandelbaumLeron E. RogersAlex ThreadgoldPartners
Frankfurt Kurnit Klein and Selz
Jacqueline CharlesworthPartner
Freundlich Law
Kenneth D. FreundlichFounding partner
Frost
Christopher FrostFounding partner
The Law Office of Jeffery B. Gandel
Jeffrey B. GandelFounder/partnerPatrick J. ScaglionePartner
Gang Tyre Ramer Brown & Passman
Donald S. PassmanPartnerJ. Eugene “Gene” Salomon Jr.Managing partnerEthan SchiffresPartner
Gibson Dunn
Brian AscherIlissa SamplingPartners/co-chairs of media, entertainment and technology practice groupOrin SnyderPartner/co-chair of trials practice groupSarah GrahamPartner
Granderson Des Rochers
Damien GrandersonPartnerGuy BlakeManaging partnerLynn GonzalezElizabeth MoodyColin MorrisseyPartners
Moody David CortiElizabeth Moody, a veteran music tech lawyer at Granderson Des Rochers, has been instrumental in the creation of industry-shaking AI licensing deals over the last year. She served as lead negotiator and strategist for both ElevenLabs and Udio, two of the biggest AI music companies to have come to the table with the mainstream music industry thus far.
In the case of ElevenLabs, the AI voice company came to Moody early upon deciding to enter the music space. Moody helped ElevenLabs ink groundbreaking deals with Kobalt and Merlin last August so that, from the jump, the company’s AI music models would be legally trained on licensed songs.
(In April, AI music generator ElevenMusic launched featuring about 4,000 human artists on the platform — mostly emerging acts — whose music can be streamed or remixed by users. It also includes the two volumes of its self-assembled The Eleven Album series, which showcases AI-assisted music made alongside participating artists, including Liza Minnelli and Art Garfunkel.)
Udio was a different story. That company initially trained its AI model on unlicensed music, and all three major-label music groups in 2024 sued both Udio and rival Suno for widespread copyright infringement. Initially, Udio and Suno both fought off the lawsuits with the same team of attorneys. But then Udio’s new CEO sought to change direction and negotiate with the industry in earnest, so he hired Moody, who has since helped Udio reach licensing deals with Universal Music Group, Warner Music Group, Kobalt, Merlin, Believe and the National Music Publishers’ Association.
“When a company is working with me, it’s because they want to work with the music industry,” Moody says. “I firmly believe that artists and songwriters should be paid fairly and have control. I’ve been told, and this is my goal, that my reputation is that I am going to do the right thing.”
Moody’s reputation certainly does precede her. Since long before the advent of AI, she has been known as the go-to attorney for tech companies that want to play ball with rights holders in the music industry. She’s shepherded everyone from video game companies to blockchain firms through the negotiation of music licensing deals and has provided legal counsel to streaming platforms like YouTube and Pandora. Moody has now taken this experience into the wild west of AI rights, where she represents over a dozen emerging companies who’ve chosen to work with, instead of against, the music industry.
“It’s more important to be in the conversation,” Moody says of this fast-moving new technology. “You’re not going to prevent AI from happening, so let’s figure out how to do it collaboratively.” —RACHEL SCHARF
Greenberg Gallo & Associates
Matthew GreenbergManaging partner
Greenberg Traurig
Bobby RosenbloumChairman of global entertainment and media practicePaul SchindlerSenior chair of New York entertainment and media practiceJeff BiedermanJake PhillipsSteve PlinioShareholders of entertainment and media practiceJess RosenShareholder/co-chair of Atlanta entertainment and media practiceCharmaine SmithShareholder of entertainment and media practice
Rosenbloum Courtesy of Greenberg TraurigGreenberg Traurig is recognized as a leader in the world of media and entertainment law and Rosenbloum, with more than three decades of experience, has guided deals at the intersection of music and technology for some 250-plus businesses, from startups to Fortune 500 firms.
His clients have included OpenAI, Spotify, Meta, Snap, the Recording Academy, the Country Music Association and Epic Games.
Over the past 18 months, Rosenbloum oversaw the negotiation strategy for new media rights deals for the Grammy Awards and the Country Music Association Awards.
The Grammys and other Recording Academy programming will be simulcast on ABC, Disney+ and Hulu beginning in 2027. The CMA Awards, meanwhile, announced a six-year extension of its deal with Disney through 2032. This November, the CMA Awards will stream on Disney+ for the first time, in addition to its traditional broadcast on ABC.
“In today’s rapidly evolving media rights landscape, and [with] the dramatic shift from linear television to streaming, assisting with the overall strategy for the futures of these two important music industry institutions — both of which recognize and celebrate the pinnacle of music artistry — at a pivotal moment in their respective histories has been one of the most significant achievements and privileges of my career,” Rosenbloum says. For Rosenbloum, an avowed country music fan, the CMA Awards negotiations were particularly noteworthy. His firm represents Brooks & Dunn, and he calls the duo’s performance of its song “Believe” with Jelly Roll at the 2024 CMA Awards “one of my favorite musical moments of all time.”
Without question, he explains, “legal issues associated with artificial intelligence are the most significant ones confronting the music industry today.”
At Greenberg Traurig, he says, “our practice group has adopted the decided approach of working only with technology companies in the space that respect intellectual property rights of the key players in the recorded-music industry, and we have been at the forefront of licensing arrangements in the space.”
He adds, “Like many other industries, it is going to be critical for the music industry to adapt to these new technologies and find ways to seize upon new opportunities presented by them. History has shown that fighting against new technologies is futile and is likely to set the industry back many years. Creative business and licensing arrangements will be key to long-term growth and prosperity.” —T.D.
Greenspoon Marder
Sandra BrownOf counsel; managing attorney, Sandra Brown ConsultingAlan ClarkeOf counsel
Grubman Shire Meiselas & Sacks
Allen GrubmanFounding partnerLawrence ShirePartner/head of the new media, motion picture, theater and sports groupKenny MeiselasPartner/head of music departmentEric SacksPartner/head of corporate departmentMatthew KamenPartner
The Hachar Law Group
Pierre Hachar Jr.Managing partnerCody PellicerGeneral partnerKendrick AlmaguerPartner of litigation division
Halbardier Law
Joe HalbardierFounding partner
Harris Trzaskoma
Anna EstevaoPartner
Herbsman Hafer Weber & Frisch
Jonas HerbsmanManaging partnerDorothy WeberMichael FrischPartners
Hueston Hennigan
Moez KabaManaging partner
Jacobs Law Group
David JacobsFounding partner
Erin M. Jacobson
Erin M. JacobsonFounder/attorney
Johnson & Johnson
Douglas L. JohnsonManaging partnerNeville L. JohnsonPartner
Law Office of Russell A. Jones Jr. and Associates
Rusty JonesAttorney
The Law Offices of Joshua A. Kamen
Joshua A. KamenFounder/owner
King Law Firm
Russell L. KingDirector
King Holmes Paterno & Soriano
Howard KingPeter PaternoLaurie SorianoBrigitte AlanisJoe CarloneLeslie FrankMarjorie GarciaScott McDowellHarold PapineauMichael RexfordJacqueline SabecPartners
King & Spalding
Paul FaklerKenneth SteinthalJacob EbinPartners
Kinney Law
Christiane KinneyPartner/CEOD. Burgundy MorganOf counsel
Kinsella Holley Iser Kump Steinsapir
Shawn HolleyJonathan SteinsapirPartners
Kirkland & Ellis
Shellie FreedmanKelly MelleckerKeri Schick NortonSeth TraxlerPartnersRory WelleverFormer partner (now with Akin Gump Strauss Hauer & Feld)
LaPolt Law
Dina LaPoltFounder/ownerLindsay ArringtonDominic ChaklosTom DeanKristin WenningPartners
Latham & Watkins
Sy DamleGabe FleetAndrew GassBritt LovejoyDavid MarriottAl PfeifferAlli StillmanJonathan WestJoe WetzelPartners
Marriott (left) and Pfeiffer Courtesy of Gittings GlobalWhen Live Nation went to trial this spring in an existential antitrust lawsuit filed by the U.S. Department of Justice, it entrusted its legal defense to veteran Latham & Watkins litigators Marriott and Pfeiffer.
The feds and dozens of state attorneys general accused the concert giant of operating an illegal monopoly over live music and sought nothing less than a court order forcing Live Nation to sell its Ticketmaster subsidiary. But as the trial began, Marriott fired back that there was little actual evidence to back up those claims.
“These are words. They are not proof, they are not evidence,” Marriott told the jury during his opening statement. “This marketplace is more competitive than ever before.”
Marriott is a seasoned trial attorney best known for his antitrust work but also experienced in intellectual property and other high-stakes commercial disputes. He joined Latham last summer after nearly three decades at Cravath Swaine & Moore, where he also represented Live Nation.
Pfeiffer is another longtime antitrust lawyer who’s been at Latham for nearly two decades. He’s handled a number of high-profile matters, including music cases like repping the Radio Music License Committee in a major antitrust case against performing rights organization SESAC.
The two were joined on the Live Nation trial team by Latham’s Gass, as well numerous other attorneys from the firm, including Timothy L. O’Mara, Jennifer L. Giordano, Kelly S. Fayne, Lindsey S. Champlin and Robin L. Gushman.
After six weeks of trial, the jury ultimately sided against Marriott, Pfeiffer and Live Nation, finding the company to be an illegal monopoly. But the case is far from over; Live Nation’s lawyers are battling for a new trial and for a more limited punishment than the divestiture of Ticketmaster that the states are requesting. If those efforts fail, the company has vowed to appeal the case to overturn the verdict. —BILL DONAHUE
Lee & Thompson
Lawrence EngelSenior partnerLizzie Payne-JamesPartner/head of music
William R. Leibowitz Law Group
William LeibowitzFounder/partner
Leibowitz Tess KaplanIn May, when Sony Music Publishing, backed by Sony Music Group, made its third and biggest acquisition of Hipgnosis-originated music assets from the private equity firm Blackstone, it brought the total of the three deals between Sony and Blackstone close to $4 billion.
At the time, there was much industry discussion surrounding the assets’ final valuation versus past assessments made by Citrin Cooperman and Shot Tower Capital, the two financial firms that handled valuations when Hipgnosis Songs Fund was still a publicly traded entity.
Hipgnosis was founded in 2018 by Merck Mercuriadis, who began an acquisition spree buying music assets consisting of approximately 110 catalog deals through two investment funds: the publicly traded Hipgnosis Songs Fund and the private Hipgnosis Songs Capital, backed by Blackstone.
Those deals included the catalogs of Richie Sambora, Journey, Mark Ronson, Rodney Jerkins, Barry Manilow, Blondie, RZA, Nelly, Lindsey Buckingham, Neil Young, Rick James, Dave Stewart, The Chainsmokers, Teddy Geiger, The-Dream, Bernard Edwards, Christine McVie, Red Hot Chili Peppers, Carol Bayer Sager and Tricky Stewart.
Blackstone would ultimately acquire Hipgnosis Songs Fund in 2024 and combine it with the Hipgnosis Songs Capital portfolios under the name Recognition Music, with Mercuriadis bowing out of the picture.
Overlooked in the discussions triggered by the Sony acquisition, about which accounting valuations were correct then and now, is that the latest deal marks the second time that the assets traded hands without any legal complications.
In fact, these transactions used a swarm of legal teams to ensure all of the artists’ contracts and acquisition deals carried clean titles of ownership and the proper letter of direction for royalty payments, among many other legal documents essential to such transactions. For example, the announcements of these deals credited these law firms: Kirkland & Ellis, Latham & Watkins, Paul Weiss Rifkind Wharton & Garrison, Simpson Thatcher & Bartlett, Loeb & Loeb and Cleary Gottlieb Steen & Hamilton.
The significance of this is that all of the original 100 or so catalogs acquired by Mercuriadis for Hipgnosis Songs Funds I were handled by a sole legal practitioner, Bill Leibowitz, whose firm goes by William R. Leibowitz Law Group. (Leibowitz worked in conjunction with Kirkland & Ellis on the 10 or so deals acquired for Hipgnosis Songs Capital.)
“This is very unusual as most music acquisition deals are done by law firms using teams of lawyers, since the process of performing legal due diligence and the negotiation and drafting of the purchase agreements on behalf of the party buying the music assets is arduous,” Leibowitz says.
“I’m gratified to say that the quality of my contracts has been validated by the due diligence that Sony performed on them and by the extremely few contract issues that have arisen over the years,” he adds.
In addition to the approximately 110 deals that he closed by Hipgnosis Songs Fund and Hipgnosis Songs Capital, Leibowitz says he was involved in the legal review of many more Hipgnosis acquisition deals that reached advanced stages but didn’t close.
“Merck’s deals all were for A-plus to B-plus assets, which involved a very arduous process with tough lawyers on the other side, endless negotiations and multiple drafts,” he says. During this period, beginning in 2018, “it was a nonstop frenetic pace, working straight for seven years without any vacation. In retrospect, I should have asked Merck to hire four more lawyers.” —ED CHRISTMAN
Lewis Brisbois Bisgaard & Smith
Jonathan PinkPartner/co-chair of entertainment, media and sports practiceJason BergerPartner
Loeb & Loeb
John FrankenheimerChairman emeritus of the firm/chair of music industry practiceDebbie WhiteVice chair of music industry practiceDerek CrownoverPartner/vice chair of music industry practice/sports industry practice member/co-office administrative partner for NashvilleTiffany DunnKenneth KrausMonika TashmanPartnersTim WarnockOffice administrative partner for Nashville
Loop Legal
Lulu PantinPartner/CEO
Lopez & Associates
Anthony R. LopezFounding attorney
Manatt Phelps & Phillips
L. Lee PhillipsSenior partnerJordan BromleyLeader of Manatt EntertainmentRobert JacobsLeader of entertainment litigationW. Joseph AndersonNathaniel BachBinta Niambi BrownEric CusterGary GilbertBernard MantelJohn MellerSarah MosesPartners
Marcus & Colvin
Kent MarcusJeff ColvinPartners
Mark Music & Media Law
Doug MarkFounding partnerDavid FerreriaJosh HefnerLeon MorabiaHarry RobertsJared TankelPartners
Angela N. Martinez/AngieLaw
Angela “Angie” MartinezAttorney at law
McPherson
Ed McPhersonPartner
Media Arts Lawyers
Rob GlassJulian HewittSteven KingDavid VodickaMarcus WalkomPartners
Meloni & McCaffrey
Robert S. MeloniOwner
Michelman Robinson
Michael PosterPartner-in-charge for New York/music acquisitions and financing chair
Milbank
Scott A. EdelmanLitigation and arbitration partner/chairmanAtara MillerLitigation and arbitration partner
Miller Barondess
Skip MillerSasha FridPartners
Milom Crow Kelley Beckett Shehan
Mike MilomDavid CrowMolly ShehanPartners
Mitchell Silberberg & Knupp
Eric GermanChristine LeperaBradley MullinsGabriella Nourafchan IsmajDavid SteinbergPartners
Moore Pequignot
Lisa F. MooreManaging partnerW. Andrew PequignotPartner
Moore (left) and Pequignot Agpicture in AtlantaCardi B had a big year of victories, both on the charts and in the courtroom. This was due in no small part to the work of her longtime lawyers Moore and Pequignot, who run the Atlanta-based entertainment boutique law firm Moore Pequignot.
The firm shepherded Cardi through a high-profile assault trial, in which former security guard Emani Ellis claimed the star scratched her face during a 2018 altercation at a Los Angeles doctor’s office. Cardi maintained that she never touched the guard, and her lawyers won a no-liability verdict in September that rejected the claim entirely.
The stakes were high for Cardi, since this trial coincided with the release of her much-anticipated sophomore album, Am I the Drama? But Cardi’s team turned it around: The rapper released a special “courtroom edition” of what ultimately became a No. 1 album on the Billboard 200 and later scored a legal penalty against the attorney that brought the case.
“While the meme-worthy Ellis trial went viral and provided unending entertainment for many, this case clearly reflects that juries continue to be rightly skeptical and punishing of unfounded money grabs and that we need judges and courts to be more proactive weeding out patently frivolous cases,” Moore says of the win.
Moore and Pequignot’s work with Cardi over the last year didn’t stop there. The firm also won a court order ending a copyright lawsuit that alleged Cardi’s 2024 single “Enough (Miami)” copied an earlier track called “Greasy Frybread,” with a Texas federal judge ruling in March that there was “no factual support” for these claims. And in May, they convinced a judge to punish gossip blogger Tasha K for violating a 2022 defamation settlement by continuing to post about Cardi’s romantic relationships.
When they weren’t busy repping Cardi, Moore and Pequignot helped convince a judge to dismiss an “inflammatory” lawsuit brought against Mary J. Blige by her former stylist Misa Hylton. The duo also maintains a robust transactional practice and closed numerous major (though confidential) film, TV, book publishing and licensing deals last year. —R.S.
Walter Mosley Law
Walter MosleyPartner
Myman Greenspan Fox Rosenberg Mobasser Younger & Light
Eric GreenspanAaron RosenbergFrancois MobasserJeffrey LightAudrey BenoualidJoshua Y. KarpTamara Milagros-ButlerRobert MinznerPartners
O’Melveny
Daniel PetrocelliPartner/trial practice chair/firm vice chairDavid MarrosoPartner/general litigation practice co-chairDrew BreuderPartner
Oppenheim + Zebrak
Matthew OppenheimManaging partnerScott ZebrakCo-founding partnerJeff GouldNick HaileyAlex KaplanJennifer PariserPartners
Law Offices of Roger L. Patton
Roger L. PattonPrincipal
Paul Hastings
Sidney FohrmanPartner of entertainment and media/chair of music industry practiceShawn KodesCo-chair of asset-backed financeMatt NemethPartner of asset-backed financeMax RosenbergPartner of investment funds and private capitalHayley SilvertownLead counsel of music industry practiceSusan WilliamsPartner
Paul Weiss Rifkind Wharton & Garrison
Jay CohenPartner/co-head of litigation department
Proskauer Rose
Anthony J. OncidiPartner/co-chair emeritus of labor and employment law department/head of West Coast labor and employment
Pryor Cashman
Donald S. ZakarinPartner/chair emeritus of the firm’s litigation group/co-chair of the music group and media and entertainment litigation practiceIlene S. FarkasPartner/co-chair of the firm’s litigation and the music groups/co-chair of the copyright, media and entertainment litigation and music litigation practicesBrad D. RosePartner/co-chair of the firm’s intellectual property groupJames G. SammataroPartner/co-chair of the firm’s music group and media and entertainment litigation practiceFrank P. ScibiliaPartner/co-chair of the firm’s copyright and music practicesBenjamin K. SemelPartner/co-chair of the firm’s music group and media and entertainment litigation practice/chair of the AI interdisciplinary groupBenjamin AkleyPartner in the firm’s litigation, intellectual property and media and entertainment groupsAndrew M. GoldsmithPartner in the firm’s litigation groupMona SimonianPartner in the firm’s litigation, intellectual property, music, media and entertainment and digital media groups
Farkas Pryor CashmanIt’s been another banner year of intellectual property court battles for Pryor Cashman’s music litigation group. Labels, publishers, artists and songwriters regularly call on this team to fight copyright infringement lawsuits over hit songs — and that’s because they have a proven track record of winning.
“We’ve done so many of these cases and so well that our clients trust us to handle them in a way that increases the chances for success,” Farkas says. “They know that not only are we very competent and steeped in all the changing nuances of copyright law, but we’re also very fluent in the music itself.”
In 2025, Pryor Cashman secured litigation victories for all three of the major music groups (Universal Music Group, Warner Music Group and Sony Music Entertainment) in high-profile infringement actions. This included convincing judges to throw out copyright cases that alleged earlier songs had been copied in tracks like Mariah Carey’s “All I Want for Christmas Is You,” Karol G and Tiësto’s “Don’t Be Shy” and Anitta’s “Funk Rave.”
Fighting a lawsuit and winning in court is a major strength of Pryor Cashman’s, but so is ascertaining when the more prudent and financially savvy path is a settlement. As Sammataro puts it, part of the team’s expertise is “understanding the landscape and knowing when to press an issue and when not to press an issue.”
This year at the negotiating table, Pryor Cashman inked a settlement that extricated Ty Dolla $ign from litigation over an uncleared sample on his Ye collaboration “Fuk Sumn,” as well as a deal for Pitbull’s label Mr. 305 Inc. to end song copying claims over the dance hit “I Feel Good.” Sometimes the group is even able to convince a plaintiff to drop a lawsuit without any financial payout — as was the case this year for a copyright action over the Karol G song “Gatúbela,” in which two producers publicly apologized after Sammataro showed them metadata confirming that the track was independently created.
“That is the best victory of all: convincing people that they have no claim, even though they came out of the gate like lions,” Farkas says. “That’s something that’s very satisfying.” —R.S.
Raines Feldman Littrell
Elliot ResnikAndrew G. TavelPartners/co-chairs of entertainment groupBill HochbergPartner of entertainment group
Reed Smith
Stephen SessaCo-chair of entertainment and media industry groupGregor PryorManaging partner for Europe and Middle EastAmy DunitzJosh LoveEric MarderEdward ShapiroPartners/members of entertainment and media industry groupJordan SievPartner/member of sports and entertainment litigation practice
Reitler Kailas & Rosenblatt
Brian D. CaplanPartner
Rimon
Ken AndersonJill BerlinerRay GarciaMark LeeCeleste MoyPartners
Ritholz Levy Fields
Adam RitholzManaging partnerJeff LevyChip PetreeT.D. RuthPartners
RodFel Law
Carlos Rodriguez-FelizFounder
Rossi Baldivia Klein Fine & Spector
Oswaldo RossiFounder/managing partnerJohn BaldiviaPam KleinGary FineJoshua SpectorNamed partnersDiego QuinteroPartner
Rothenberg Mohr & Binder
Paul RothenbergJeremy MohrJoshua BinderFounding partnersKevin EskowitzLisa LesterPartners
Russ August & Kabat
Stanton “Larry” SteinAshley YearganPartners/co-chairs of media and entertainment departmentIrene Y. LeePartner
Russells Solicitors
Simon EsplenExecutive chairJo BrittainManaging partnerGavin MaudeSenior partnerAlex ColeChris GossageAlly HornSteven TregearPartners
Safford Motley
Scott SaffordOwner/member
Schillings
Jenny AfiaPartner
The Seay Firm
John SeayFounder/owner
Selverne Bradford
Michael SelverneManaging partner
Sheppard
Robert DarwellSenior partner/head of global mediaAlexis RobinsonEntertainment, technology and media practice group leader/music industry team co-leaderDaniel SchnappPartner/music industry team co-leader/AI, robotics and quantum industry team co-leader/interactive media industry team co-leaderCamille VasquezPartner/co-office managing partner of Orange County officeNicolas UrdinolaPartner
Shihadeh Law
Jodie ShihadehFounder/owner
Sidley Austin
Rollin RansomPartner/co-leader of entertainment, sports and media group/co-leader of global commercial litigation and disputes practice/managing partner of the Los Angeles office/head of the greater Los Angeles litigation groupMatthew C. ThompsonPartner/co-leader of the entertainment, sports and media group firmwide
Ransom Courtesy of Sidley AustinWhen Drake stunned the music industry by suing Universal Music Group over a rap beef, the label group turned to Rollin Ransom and Sidley Austin.
Drake’s case claimed that UMG had defamed him by releasing Kendrick Lamar’s scathing diss track “Not Like Us,” on which Lamar tarred his archrival as a “certified pedophile.” Drake believed that millions of people took that lyric literally, severely harming his reputation.
UMG, represented by Ransom, didn’t merely rebut those claims. In seeking to have the case dismissed, the company blasted the “meritless” lawsuit from its own artist as “no more than Drake’s attempt to save face” after being publicly humiliated.
“Plaintiff, one of the most successful recording artists of all time, lost a rap battle that he provoked and in which he willingly participated,” Ransom wrote at the time. “Instead of accepting the loss like the unbothered rap artist he often claims to be, he has sued his own record label in a misguided attempt to salve his wounds.”
Those strong words came from a veteran music litigator who had previously represented UMG in a number of high-profile cases, including a major battle with recording artists over termination rights. He’s currently repping the label in a long-running fight with Limp Bizkit and Fred Durst over royalties and recently won a $322 million judgment in a music piracy lawsuit against the pirate library Anna’s Archive.
But it was the Drake case that drew the biggest headlines last year — an unprecedented legal battle pitting one of the most successful artists of his generation against his longtime record label over an exchange of diss tracks, sparking sharp debate over hip-hop culture and free speech.
In October, a judge sided with UMG and dismissed Drake’s case, ruling that the rapper could not win a defamation case over such “hyperbolic” language in an exchange of diss tracks.
Drake is appealing the ruling — but Ransom is also representing UMG at the appeals court, where he has already had more strong words for the star’s challenge: “Drake’s view would critically undermine a highly creative art form.” —B.D.
Simkins
Ed Baden-PowellNick EziefulaPaddy GardinerBen GisbeyTom IversonEuan LawsonStuart SmithEd WeidmanPartners
Simons Muirhead Burton
Richard BaskindAlasdair GeorgePartners/joint heads of musicLiam AltZack GoldAnthony OrumPartners
Simpson Group
Shardé SimpsonFounder/managing attorney
Singer Weinsten Wolf & Jonelis
Martin “Marty” SingerManaging partner
Skadden Arps Slate Meagher & Flom
Glen MastrobertePartner/head of Skadden’s entertainment and media group and Los Angeles corporate group
SMGQ Law
Leslie Jose ZigelChair of entertainment, media and technology practice groupJavier FeitoPartner of entertainment, media and technology practice group
Steel Law Firm
Brian SteelPartner
Stilwell Law
Rachel StilwellOwner/principal
Sukin Colton Law Association
Michael F. SukinFounding principal
Swanson Martin & Bell
Jeffrey S. BeckerPartner/chairman of the entertainment and media law group
Ron Sweeney and Company
Ron SweeneyFounder
Torres
Jose Juan TorresManaging member
Torres Courtesy of Jose TorresLike many of his peers, entertainment lawyer Jose Juan Torres — whose prominent clients include superstars Bad Bunny and Rauw Alejandro — believes the most important legal issue facing the music industry today is the use of copyrighted works to train and operate generative artificial intelligence models.
“Beyond copyright, AI raises significant concerns,” he says, citing issues such as “voice cloning and digital replicas, where an artist’s voice is imitated without permission; rights of publicity; protecting an individual’s name, image, likeness or distinctive identity; consumer confusion, where listeners may mistakenly believe an AI-generated song is an authentic recording by a particular artist; [and] contractual issues, as record labels and publishers negotiate AI-related rights in new agreements.”
Not everything was about AI for Torres. In the last year, witnessing Puerto Rican musical genres such as plena, bomba and salsa transcend cultures, borders and languages has been a highlight for the longtime lawyer. The music is connecting people through shared emotions and experiences — including through Bad Bunny’s performance at the 2026 Super Bowl halftime show and his current DeBÍ TiRAR MáS FOToS world tour.
“Our artists and clients have taken these performances to audiences around the world, showcasing a musical heritage that is deeply rooted in passion, tradition and authenticity,” says Torres, who has offices in Puerto Rico and New York. “Seeing a message of love and unity delivered through music during a moment as globally significant as the Super Bowl was something that far exceeded anything I ever imagined I would witness. It was an incredibly moving experience — not only from the perspective of an entertainment lawyer, but also as a lifelong music lover and, above all, as a proud Puerto Rican.” —SIGAL RATNER-ARIAS
Venable
J. Douglas BaldridgeWilliam BriggsPartners
Baldridge Courtesy of VenableWhen you represent the biggest music star on earth, you need to be ready for anything.
J. Douglas Baldridge, a partner at the law firm law Venable, has served for years as a top attorney for Taylor Swift — a role that has seen him fend off copyright lawsuits, win an assault verdict against a DJ, protect against stalkers and, most recently, prevent her from getting dragged into a messy celebrity legal battle.
All that work comes with an added layer of difficulty: Lawyers to superstar clients must not only assess legal issues but also consider the PR angle of any move they make. Baldridge, who likely knows that better than anyone, says matters involving major artists can easily be “misunderstood” by the public in an era of social media and viral headlines.
“Every decision requires exacting focus not only on the legal strategy but also on how that strategy will be perceived,” Baldridge says. “It calls for an arduous and challenging process to respect not only the law but also the expectations of those who are the foundation and support for the art itself, the fans. Neither can yield to the other.”
He’s not just Swift’s lawyer, of course. Baldridge has handled more than 40 trials across a range of industries, including big antitrust cases. But his work for the star, which started in 2013, has unsurprisingly drawn the most headlines, starting with his 2017 trial win against a Denver radio DJ named David Mueller who Swift claimed groped her at a photo shoot.
After years as her outside counsel at Venable, Baldridge was hired as general counsel of Swift’s 13 Management in 2023, serving in that in-house role during the final 18 months of her record-breaking The Eras Tour. In January 2025, he returned to the firm, where he has continued to represent the star.
There’s hardly been a shortage of work. In May 2025, Swift signed a deal to buy back the masters to her first six studio albums, capping off a yearslong, highly public effort to take control of her own music. Baldridge also helped her win the dismissal of a copyright case, get a restraining order against a stalker and fight back against a trademark lawsuit over her album The Life of a Showgirl. He also spent months preventing her from getting subpoenaed and deposed in the ongoing fight between her friend Blake Lively and actor Justin Baldoni.
In April, Swift made more legal news when she applied for federal trademark registrations on her voice, a move that came amid growing concerns about AI and voice cloning. And you can’t blame her: Two years ago, she was the victim of a high-profile flood of illegal AI-powered imagery on social media.
Asked about the most pressing legal issue for the music business, Baldridge says it’s clearly AI: “I am sure it comes as no surprise to anyone that artificial intelligence continues to present the most important legal issues facing the music industry,” he explains. “It is an absolute certainty that AI has changed and will continue to change how and by whom music is created. The question is, at what cost to human creativity?” —B.D.
Weil Gotshal & Manges
Todd LarsonIntellectual property/media partner in litigation departmentBenjamin MarksHead of intellectual property and media practice
Wells Kappel
Loren WellsTim KappelPartners
Wigdor
Douglas WigdorFounding partnerJeanne ChristensenMeredith FiretogLawrence PearsonMichael WilleminPartners
Willkie Farr & Gallagher
Michael GottliebChair of crisis management/co-chair of media and first amendment and strategic motions and appealsAlex WeingartenManaging partner of Los Angeles officeShane NixBeau StapletonPartners
Wilson Sonsini Goodrich & Rosati
Gary R. GreensteinFounder
Winston Taylor
Jeffrey L. KesslerPartner/co-executive chair
Kessler Courtesy of Winston TaylorIn March, the U.S. Department of Justice settled with Live Nation a month into the company’s blockbuster monopoly trial. Dozens of state attorneys general wanted to keep litigating the case through to a verdict, but they had a problem: Federal antitrust lawyers at the DOJ had been spearheading the litigation, and the states didn’t have a lead trial counsel on hand to take over.
Enter Jeffrey Kessler. A renowned competition attorney known for litigating antitrust cases against mega-organizations like the NFL and the National Collegiate Athletic Association, Kessler was retained as rumors of a DOJ settlement began to swirl. He and his team from Winston & Strawn (recently renamed Winston Taylor following a merger with Taylor Wessing) had less than two weeks to get up to speed on the gigantic case file before resuming the Live Nation trial as lead counsel for the plaintiff states.
“It was incredibly challenging,” Kessler says of the process, which required the team to sift through hundreds of pages of documents and prepare for dozens of witnesses. Before this, Kessler, like many of his peers, had been following the Live Nation case on a high level but hadn’t been “steeped in the facts of the music industry,” as he puts it.
Kessler ultimately secured a total victory for the states. The jury returned a verdict in April that found Live Nation liable on all counts, determining that the company used its combined power in ticketing, concert promotion and venue ownership to push out competition. Live Nation denies this.
“It was a great privilege to work with the states on this,” Kessler says. “They are very dedicated to the enforcement of the antitrust laws. They are very fine lawyers, and I was and am proud to be part of their team on this case.”
The work is not yet done for Kessler and his team. They remain busy in the post-trial phase of litigation, opposing Live Nation’s motion for a new trial and urging a judge to force the sale of Ticketmaster as a remedy for monopolistic conduct. Live Nation has long maintained that a Ticketmaster divestiture order would be inappropriate and will almost certainly appeal any adverse ruling. —B.D.
Womble Bond Dickinson (U.S.)
William T. “Bill” RamseyMariam N. StocktonPartners
Yankovsky Law
Andrea YankovskyFounder
Yu Leseberg
Helen YuPrincipal partner
The Zia Firm
Adam ZiaFounding partnerMarc GeylemanManaging partnerNate KuoCraig MarshallPartners
Ziffren Brittenham
John BrancaDavid ByrnesDavid LandePartners
Branca Joseph PuhyIt has been a milestone year for Michael Jackson’s estate — and thus by extension for Ziffren Brittenham attorney John Branca, who has been the executor of Jackson’s estate since his 2009 death.
Following its April release, the long-awaited biopic Michael, starring Jackson’s nephew Jaafar Jackson as the King of Pop, dethroned Bohemian Rhapsody to become the highest-grossing music biopic of all time. The movie’s success drove a massive spike for Jackson’s music. According to Luminate, his catalog registered 137.5 million on-demand streams in the week following the film’s release — doubling his previous career high. In June, Jackson became the first and only artist to chart on the Billboard Hot 100 in every decade since the 1970s.
The clientele of music powerhouse Ziffren Brittenham extends far beyond the Jackson estate — in recent years, it has negotiated major tours and releases for SZA, Beyoncé, Justin Bieber and Shakira — but tending to Jackson’s legacy has remained a key focus for Branca. The longtime Ziffren partner has helped steer the estate from the edge of bankruptcy while dogged by abuse allegations against Jackson to a booming multibillion-dollar business with stage productions, a huge catalog sale and now a smash-hit biopic.
The estate still faces its share of challenges. Branca has sparred in court with Jackson’s mother and daughter, and the estate still faces several looming cases alleging abuse. But those issues have publicly been eclipsed by the soaring success of the film, in which Branca says the estate “set out to show the world the real Michael.”
“I could not be more proud of what we accomplished,” he says. “The response has been extraordinary, not just at the box office, but in the social media reaction and record worldwide streaming numbers. The worldwide love for Michael has been deeply moving.” —B.D.
Contributors: Katie Bain, Anna Chan, Ed Christman, Hannah Dailey, Kyle Denis, Elizabeth Dilts Marshall, Bill Donahue, Thom Duffy, Chris Eggertsen, Paul Grein, Gil Kaufman, Joe Lynch, Taylor Mims, Jessica Nicholson, Sigal Ratner-Arias, Kristin Robinson, Michael Saponara, Rachel Scharf
Methodology: Billboard’s Top Music Lawyers recognizes only outside counsel at law firms with the exception of in-house attorneys at market-leading companies in the sectors shown. Nominations for all of Billboard’s industry-sourced executive lists open no less than 150 days in advance of publication, and a submission link is sent by request before the nomination period. (Email thom.duffy@billboard.com for inclusion on the email list for nomination links and for how to obtain an editorial calendar.) Billboard’s 2026 Top Music Lawyers were nominated by their firms and chosen by editors, based on factors including nomination information and the stature of their clients, as measured by Billboard charts, using data available as of Feb. 1. Other factors considered include previous inclusion on the Top Music Lawyers list and involvement in significant legal developments in the preceding year.
Leading Law Schools Of The Top Music Lawyers
The most frequently cited alma maters of the 2026 class of honorees.
Harvard Law School Library in Cambridge, Mass. UCG/Universal Images Group/Getty ImagesBenjamin N. Cardozo School of Law, Yeshiva University (New York)
Brooklyn Law School (Brooklyn)
Columbia Law School, Columbia University (New York)
Fordham University School of Law (New York)
Georgetown University Law Center (Washington, D.C.)
Harvard Law School, Harvard University (Cambridge, Mass.)
Loyola Law School (Los Angeles)
New York Law School (New York)
New York University School of Law (New York)
Pepperdine Caruso School of Law, Pepperdine University (Malibu, Calif.)
Southwestern Law School (Los Angeles)
University of California, Berkeley, School of Law (Berkeley, Calif.)
University of California, Los Angeles, School of Law (Los Angeles)
University of Miami School of Law (Miami)
University of Southern California Gould School of Law (Los Angeles)
This story appears in the July 18, 2026, issue of Billboard.
Hence then, the article about billboard s 2026 top music lawyers revealed was published today ( ) and is available on billboard ( Middle East ) The editorial team at PressBee has edited and verified it, and it may have been modified, fully republished, or quoted. You can read and follow the updates of this news or article from its original source.
Read More Details
Finally We wish PressBee provided you with enough information of ( Billboard’s 2026 Top Music Lawyers Revealed )
Also on site :
- 'Real Housewives of Salt Lake City' Star Angie Katsanevas & Husband Shawn Trujillo Split After 27 Years of Marriage
- U.S. military launches 10th straight night of airstrikes on Iran as Houthi allies threaten Red Sea, but glimmers of hope appear on diplomatic front
- T.J. Maxx's Beautiful Linen Dining Chair Sets Has Shoppers Racing to Buy Them Before They're Gone for Good