Category: Music

D’Angelo’s son, Swayvo Twain (born Michael Eugene Archer Jr.), spoke out for the first time since his music icon father’s funeral in a heartfelt post to Instagram on Wednesday (Nov. 12), which featured parts of his emotional eulogy at the neo-soul legend’s memorial service last month.

“My dad, he came down to Atlanta. He spent three weeks with me. Anything we ever missed, any questions I ever had, anything I wanted to ask him about — anything — we just had every conversation,” Twain recalled. “Every laugh and every moment, man. It really just cleared my spirit, man. That’s the time I needed him the most ever. He stood right there.”

Twain explained how he gained a ton of clarity following his father’s funeral. “My mom [Angie Stone] passed and it left me with a lot of questions,” the 28-year-old added. “After [D’Angelo’s] funeral, I gained a lot of answers to things.”

Twain, a rapper and singer in his own right, is the eldest child of D’Angelo, who has two younger siblings: 26-year-old Imani and 15-year-old Morocco.

D’Angelo died at 51 years old following a battle with cancer on Oct. 14. “The shining star of our family has dimmed his light for us in this life,” his family said in a statement to Billboard. “After a prolonged and courageous battle with cancer, we are heartbroken to announce that Michael D’Angelo Archer, known to his fans around the world as D’Angelo, has been called home, departing this life today, Oct. 14, 2025.”

“We are saddened that he can only leave dear memories with his family, but we are eternally grateful for the legacy of extraordinarily moving music he leaves behind,” the statement continued. “We ask that you respect our privacy during this difficult time but invite you all join us in mourning his passing while also celebrating the gift of song that he has left for the world.”

There was an outpouring of tributes from the music community, including heartfelt messages from Doja Cat, Tyler, the Creator, Jill Scott, The Alchemist and DJ Premier.

Find Swayvo Twain’s post about his late father below.

Four of the U.K.’s leading artists are among those coming together to call on the British Prime Minister, Sir Keir Starmer, to honour a pledge to protect fans from online ticket scalpers, also known as touts.

Coldplay, Dua Lipa, Radiohead and Sam Fender are all signatories to a joint statement published Thursday (Nov. 13), in which artists, managers and fan groups are asking Starmer to commit to resale price cap legislation in the U.K.

In its manifesto for the 2024 general election, the Labour Party proposed policies for new consumer protections on ticket resales. This evolved into an industry consultation in January, which invited views from venues, promoters, fans and other parties on a resale price cap, considering options from face value to a 30% uplift.

On Oct. 5, seven months after the consultation closed, the U.K.’s culture minister, Ian Murray, confirmed that the current Labour government would press ahead with plans for a price cap on resale tickets — but the specifics of these plans have yet to be revealed.

Now, dozens of industry figures are calling for the Prime Minister to make the commitment to price cap legislation in the next King’s Speech, which is set to take place next spring.

In the statement, the coalition says new protections are needed to “help fix elements of the extortionate and pernicious secondary ticketing market that serve the interests of touts, whose exploitative practices are preventing genuine fans from accessing the music, theatre and sports they love.”

It adds: “For too long certain resale platforms have allowed touts to bulk buy and then resell tickets at inflated prices, forcing fans to either pay above the odds or miss out entirely. This erodes trust in the live events sector and undermines the efforts of artists and organisers to make shows accessible and affordable. Introducing a cap will restore faith in the ticketing system, help democratise public access to the arts in line with the Government’s agenda and make it easier for fans to spot illegal behaviour, such as ticketing fraud.”

Alongside the aforementioned names, the list of signatories includes The Cure’s Robert Smith, New Order, Mark Knopfler, Iron Maiden, PJ Harvey, alt-J, Aluna Francis, Bastille, Ben Howard, Brix Smith, Mogwai, Nick Cave & The Bad Seeds and Nubiyan Twist. (View the full list below.)

With the statement on Thursday, the group of signatories joins consumer choice organisation Which?, the FanFair Alliance, O2 and the Football Supporters’ Association, along with organisations representing the music and theatre industries, venues, managers and ticket retailers, among others.

The statement arrives alongside a new investigation from Which?, which outlines the global touting operations targeting the U.K.’s ticketing industry. The group identified prolific scalpers in locations including Brazil, Dubai, Singapore, Spain and the United States, all of whom were bulk-buying tickets for live music and sporting events in the U.K. before relisting them at inflated prices on platforms such as StubHub and Viagogo.

Examples of this practice included tickets for Oasis’ Wembley Stadium shows, which were listed for prices as high as £3,498.85 ($4,594.04) on StubHub and £4,442 ($5832.41) on Viagogo. Another finding showed that a seat for the recent Minnesota Vikings vs. Cleveland Browns NFL clash at Tottenham Hotspur Stadium was listed for £3,568.39 ($4685.35) on StubHub.

Elsewhere, Which? also found multiple cases of speculative selling, which is when tickets are listed on secondary sites for double the price — even though the seller has not bought them yet.

In a press release, Lisa Webb, a consumer law expert at Which?, said: “Today’s joint statement makes clear that artists, fan organisations and consumers reject the broken ticketing market that has allowed touts to thrive for too long. The Prime Minister pledged to protect fans and a price cap on resold tickets will be a critical step towards fixing this industry, but he must commit to this legislation by including it in the next King’s Speech.”

Webb concluded: “Further reforms are also needed to ensure sellers actually own the tickets they advertise before listing them, that resale platforms ensure the identities of sellers and key information about a ticket are verified and that the new rules are effectively enforced.”

Artist signatories: Alfa Mist, alt-J, Aluna Francis, Amy Macdonald, Andro, Bastille, Ben Howard, Brix Smith, Charlotte OC, Coldplay, Dana Margolin (Porridge Radio), Dua Lipa, Graeme Park, Howard Jones, Idlewild, Iron Maiden, Johnny Marr, Keane, Kelli-Leigh, Low Island, Mark Knopfler, Mogwai, New Order, Nick Cave & The Bad Seeds, Nick Mason, Nubiyan Twist, Orlando Higginbottom, PJ Harvey, Quantic, Radiohead, Revenge of Calculon, Robert Mitchell, Robert Smith (The Cure), Sam Fender, SNAYX, Sweetie Irie, The New Eves, Travis.

Organisations: Fan Fair Alliance, Featured Artists Coalition, Football Supporters Association, LIVE, Music Managers’ Forum, Music Venue Trust, Musicians’ Union, O2, Society of London Theatre & UK Theatre, Society of Ticket Agents and Retailers (STAR), UK Music, Which?.

In the wake of Calvin Harris’ bombshell fraud claims against business manager Thomas St. John, fellow star DJ Eric Prydz has brought a lawsuit alleging the financial adviser stole $269,000 from his accounts.

St. John, the head of beleaguered entertainment industry accounting firm Thomas St. John Group, was accused in arbitration this summer of secretly funneling $22 million from Harris’ accounts into a real estate side venture. St. John denies the claims, maintaining that the Scottish DJ was an informed and willing investor in the project.

Now, Prydz — another titan of the EDM industry — says St. John exploited his account access to steal money. The Swedish DJ, who has been a client of St. John’s since 2012, claims in an Oct. 28 breach of contract and fraud lawsuit that St. John paid himself $269,000 in commissions for services Prydz says he never asked for or authorized.  

“Thomas St. John is a professional financial advisor who is supposed to be trustworthy and reliable, and who should be acting in the best interests of his client,” wrote Prydz’s attorney, Carla Wirtschafter of Reed Smith. “TSJ, however, proved to be none of those things. Instead, he is a fraud who not only abuses the trust of his clients, he takes money from them without their knowledge or authorization for his personal use and benefit.”

The lawsuit claims Prydz decided to fire St. John in September after discovering that the manager had taken $219,000 in unearned commissions on top of his regular 5% fee. St. John allegedly agreed to stay on through the end of October to finish a tax return for Prydz, though this process quickly turned contentious.

Prydz claims St. John tried to “extort” an additional $150,000 out of him and refused to complete the tax return otherwise, which Prydz says he refused. But according to the lawsuit, St. John unilaterally took another $50,000 out of Prydz’s accounts to cover part of this improper fee.

The legal complaint alleges that after all this, St. John never filed the tax return as promised — and that he’s now refusing to turn over the necessary documentation to Prydz’s new financial advisers.

“As a direct result of TSJ’s malicious conduct to hold Prydz’s financial documents hostage, Prydz has been unable to complete and file the now past due tax forms,” the lawsuit reads.

Prydz is seeking a court order for St. John to release his financial records and return the allegedly stolen commissions. The DJ also wants additional monetary damages recouping St. John’s 5% fee, claiming the adviser did “little or no work” to earn those payments.

Reps for St. John did not immediately return a request for comment on Wednesday (Nov. 12).

Prydz’s lawsuit is just the latest legal woe for St. John, whose U.S. business arm has been in bankruptcy since March. The manager’s real estate project, a Hollywood development called CMNTY Culture Campus, is the subject of claims from both Harris and songwriter Philip Lawrence.

A deep dive by Billboard last month reported that CMNTY Culture — originally envisioned as a recording studio and creative office complex — was born out of the St. John-advised, $90 million sale in 2020 of Lawrence’s catalog of Bruno Mars writing credits.

Following that deal, Lawrence opted to park some of the proceeds in a real estate venture to lessen his taxes on the sale and brought on St. John as a partner. But Lawrence’s finances soon dried up, and St. John ended up buying out the songwriter and helming the project himself.

It was at this point that St. John took on outside investors, including Harris. But while St. John claims Harris wanted in on CMNTY Culture, Harris alleges in his arbitration that the manager fooled him into signing investment documents without knowing what they were.

Harris now claims that his money has disappeared and that CMNTY Culture is a “complete boondoggle.” Indeed, St. John is no longer developing a recording studio and has yet to break ground on any construction, though he maintains that the project is still on track for success under reworked plans for a residential apartment complex.

The Harris action is still pending before a private arbitrator. Meanwhile, Lawrence has declared bankruptcy, while his estate trustee recently accused St. John in court papers of violating their fiduciary relationship during the CMNTY Culture partnership.

A flurry of earnings reports for the quarter ended Sept. 30 show a continued divide in the music landscape. Live music companies such as Live Nation and MSG Entertainment posted double-digit growth as concert demand surged, while HYBE and SM Entertainment also benefitted from strong concert revenues. Streaming also spiked once again, pushing Spotify and Universal Music Group (UMG) to double-digit revenue growth. Legacy media didn’t fare as well, however: iHeartMedia revenue slipped slightly, while SiriusXM leveraged cost-cutting to compensate for flat revenue. 

Here’s a running list, in alphabetical order, of the music companies that released earnings results (as of Nov. 12) for the quarter ended Sept 30, 2025. 

Cumulus Media: The radio company’s revenue fell 11.5% to $180.3 million and net loss grew to $20.4 million from $10.3 million in the prior-year quarter. The advertising business remains “challenging for legacy media,” CEO Mary Berner said. Broadcast radio revenue sank 17.2% to $115.0 million. Digital revenue fell 2.6% to $39.0 million, though it was up 8.4% if the loss of The Daily Wire and Dan Bongino aren’t counted. Check out our full radio earnings roundup here.

Deezer: Revenue dropped 1% to $154 million as gains from self-paying users almost offset losses in business-to-business subscribers. Direct subscribers grew in number to 5.5 million, up nearly 10%, and direct subscription revenue increased 1.6% to $103 million. Revenue from partnerships fell 12.6% to $42 million and subscribers from these partnerships dropped 24.5% from the prior-year quarter. Go to the full article for more details.

HYBE: Tours by BTS member Jin and groups SEVENTEEN and TOMORROW X TOGETHER helped Q3 revenue rise 38% to $519 million, as strong concert revenue ($174 million) helped make up for recorded music’s 11.5% decline to $136 million. Operating loss was $30 million, a big turnaround from a $40 million operating profit a year earlier. More details in the full article. 

iHeartMedia: CEO Bob Pittman was “pleased” with the performance and boasted of new partnerships with TikTok and Amazon Ads, which will expand the company’s podcast and advertising businesses, respectively. Revenue of $997 million was down 1.1% (up 2.8% excluding the prior-year period’s political advertising). Adjusted EBITDA was flat at $205 million. Podcast revenue jumped 22% to $140 million while the multi-platform group, which included broadcast radio, fell 5% to $591 million. Q4 guidance is a low-single-digit revenue decline. Find more details here.

LiveOne: The U.S. music streaming company’s revenue dropped 42% to $18.8 million primarily due to a decrease in Slacker revenue after losing preferred status in Tesla cars. Adjusted EBITDA fell to -$1.0 million from $2.9 million in the prior-year period. In a Nov. 12 earnings call, CEO Rob Ellin called the last 12 months “transformative” and pointed to the company’s embraced AI and reduction of its staff from 350 to 95. Sales and marketing costs dropped 34% and general and administrative expense, which includes salaries, fell 9.2% from the prior-year period.

Live Nation: As fans packed themselves into stadiums in record numbers, revenue rose 11% to $8.5 billion and adjusted operating income (AOI) grew 14% to $1.03 billion. Concerts revenue was up 11% to $7.3 billion. Ticketing revenue rose 15% to $798 million. Sponsorships revenue jumped 13% to $443 million. Importantly, increases in deferred revenue suggest Live Nation will experience additional growth into 2026. Read about the earnings here and check out Billboard’s follow-up article with additional details from the earnings call.

MSG Entertainment: Boosted by a record number of concerts at the Madison Square Garden arena, MSG Entertainment’s revenue jumped 14% to $158.3 million and adjusted operating income improved to $7.1 million from $1.9 million in the prior-year period. Revenue from concerts rose $8.3 million while sporting events revenue improved $6.8 million. Food and beverage revenue jumped 20%, or $3.9 million. Looking ahead, MSGE’s Christmas Spectacular, the company’s annual holiday production at Radio City Music Hall, is slated for 215 performances, up from 200 a year earlier. 

Reservoir Media: Fiscal second quarter revenue of $45.4 million was up 7% organically, or 12% including acquisitions. Net income of $2.2 million was up from $0.2 million in the prior-year quarter. Music publishing revenue rose 8% to $30.9 million, while recorded music revenue jumped 21% to $13.0 million. The results prompted management to adjust upward its forecasts for full-year revenue and adjusted earnings before interest, taxes, depreciation and amortization. 

Ryman Hospitality Properties: The country-focused entertainment division, which includes the Grand Ole Opry and the Ryman Auditorium in Nashville, had revenue $91.6 million, up 10.5% from the prior-year period. Adjusted EBITDA rose 10.2% to $24.7 million. International engagement of the Opry brand, which held its first-ever international performance in London in September, has “exceeded our expectations,” president and CEO Mark Fioravanti said in a statement. Despite increased competition for country fans in downtown Nashville, Fioravanti said Ryman is confident in the “unique nature of our portfolio.”

SiriusXM: The satellite radio company’s stock price jumped 10% after it raised 2025 guidance for revenue, EBITDA and cash flow. Although it reported a 1% dip in revenue, the company rebounded from a loss to produce net income of $297 million; while subscriber revenue was down, cost-cutting and layoffs helped offset the decline. Adjusted EBITDA fell 2.5% to $676 million. CEO Jennifer Witz said she is “confident” that improvements will allow the company to reach its target of $1.5 billion of free cash flow by 2027. Check out Billboard’s coverage for more details.

SM Entertainment: Led by concerts and music releases from aespa and NCT WISH, revenue rose 33% to $237.3 million. Operating profit jumped 262% to $35.6 million. Recorded music rose 33% $71.4 million, while new album sales grew to 5.42 million from 3.61 million in the third quarter of 2024. And concert revenue rose 38% to $38.7 million despite the company having fewer concerts compared to the prior-year period. Go to the full article for more info.

Sony Music: Rising streaming income and the success of the anime series Demon Slayer: Kimetsu no Yaiba Infinity Castle helped Sony Music’s revenue jump 21% to $3.65 billion and operating income climb 28% to $776 million. Overall streaming revenues rose 12% in recorded music and 25% in the publishing division. Physical sales rose 6%. Looking ahead, Sony increased its full-year forecast for Sony Music’s sales by 6% to $13.3 billion. The full article has all the details. 

Sphere Entertainment Co.: The Wizard of Oz and the Backstreet Boys boosted Sphere parent company’s revenue to $263 million and helped turn negative adjusted operating income (AOI) into $36 million of positive AOI. Oz has sold more than 1 million tickets to date, and showings of that title and other movies rose to 220 from 207 in the prior-year quarter. The Sphere segment itself posted an operating loss of $84 million — a $40 million improvement from a year ago. More details in the full article. 

Spotify: The audio giant’s subscribers rose 12% to 281 million and gross margin improved by 56 basis points — 0.56 of a point — to 31.6%. Those improvements led revenue to increase 12% to $5 billion and gross profit to grow 9% to $1.84 billion. “We have the tools we need — pricing, product innovation, operational leverage, and eventually the ads turnaround — to deliver both revenue growth and profit expansion,” said CEO Daniel Ek. Check out our full story on the earnings release and our follow-up article with details from the earnings call.

Tencent Music Entertainment: Music subscription’s improved 17.2% to $632 million, helping drive revenue from online music services up 27.2% to $979 million. Paying users rose 5.6% to 125.7 million while monthly active users of online music services fell 4.3% to 551 million. The company did not reveal how many subscribers are paying for the more expensive Super VIP tier, but “improved” penetration of SVIP was likely behind the 10.2% increase in average revenue per user. 

Universal Music Group: In another strong quarter, UMG posted a 10.2% revenue gain (in constant currency) to $3.5 billion. EBITDA rose 11.6% (also in constant currency) to $694 million and EBITDA margin ticked up to 22.0% from 21.6%. Recorded music subscription revenue, a closely watched metric, rose 8.6% while other streaming revenue was flat at $394 million. Go to the full article for all the details and check out the follow-up article for more insights. 

Vivid Seats: With disappointing results came an announcement that CFO Lawrence Fey will replace Stan Chia as CEO. In Q3, the secondary ticketing marketplace posted a 27% drop in revenue, to $136.4 million, and a 29% decline in gross order value, to $618.1 million. Adjusted EBITDA fell to $4.9 million from $34.1 million in the prior-year period. Vivid Seats is doubling its cost savings target to $60 million and “simplified our corporate structure” for better efficiency, Fey said in a statement.

YG Entertainment: The K-pop company behind BLACKPINK and BABYMONSTER posted a 107% increase in revenue to 173.1 billion KRW ($127.7 million). Operating profit improved to 31.1 billion KRW ($23.0 million) from a 3.6 billion KRW ($2.6 million) operating loss in the prior-year period. Net income rose to 24.4 billion KRW ($18.0 million) from a net loss of 937 million KRW ($691,000).

The life and career of 13-time Grammy winner Kenneth “Babyface” Edmonds will take center stage in a documentary that’s now in production and backed by HarbourView Equity Partners. Helming the documentary are Emmy-nominated director Chris Moukarbel (Gaga: Five Foot Two, Cypher) and Kenya Barris (black-ish, grown-ish).

According to a press release announcing the project, the documentary will feature Babyface during in-depth interviews talking about the triumphs and challenges he’s encountered in the music industry, his songwriting and production process and his star-filled list of collaborators over the years such as Whitney Houston, Toni Braxton, Beyoncé, Eric Clapton, Mary J. Blige, Mariah Carey, Boyz II Men and SZA. As such, the documentary will also feature interviews with many of Babyface’s key collaborators as well as behind-the-scenes and concert footage of his upcoming shows at The Palms in Las Vegas.

The documentary will also encompass his trajectory as a co-founder of Atlanta-based LaFace Records with Antonio “L.A.” Reid in the ‘90s and early 2000s. In addition to Braxton, the storied label’s roster included OutKast, Usher, TLC, P!nk and Ciara.

“I’ve often wondered how an unassuming kid from Indianapolis got to where he is today, working with artists and achieving dreams I could’ve never imagined when I first started,” commented Babyface in the press release. “This documentary is giving me a chance to go down memory lane with a fine-tooth comb, reexamining the highs and lows of my life and career. I’m discovering where all the songs really came from — and perhaps just as important, the how and why.” 

That “unassuming kid” went on to write and produce seminal film soundtracks and songs as well. Those credits include The Bodyguard, Boomerang, Soul Food and Waiting to Exhale — the latter of which is celebrating its 30th anniversary this year. He also produced “When You Believe,” the Academy Award-winning duet between Houston and Carey from the animated film The Prince of Egypt. Beyond his 13 Grammy Awards. the prolific music man is a seven-time BMI pop songwriter of the year honoree. He also counts 16 No. 1 pop singles, 45 No. 1 R&B singles and 125 top 10 hits per the Billboard charts.

“Babyface and his music has always been part of the soundtrack of my life,” said director Moukarbel. “His imprint on the music world is massive and I feel really honored to be even a small part in sharing his story through directing this film.

Sherrese Clarke, founder/CEO of HarbourView Equity Partners, said, “We’re passionate about investing in stories and creators who’ve shaped culture in lasting ways. Babyface’s influence on music and artistry is immeasurable — his songs have defined generations. We’re proud to support this project celebrating his genius, legacy and the emotional honesty behind his work.”

Describing Babyface as “one of one — a culture-defining hitmaker whose impact cannot be denied or overstated,” Barris added, “We’re honored to be a part of telling his story and grateful that we’re teaming with Harbourview, a company that understands the importance of investing in culture and storytelling like this, to do so. I hope this project not only spotlights Babyface’s remarkable career but also gives people a glimpse into the man behind the musical genius, who just might be one of the funniest motherfuckers I’ve ever met.”

Radio companies had mixed results in the third quarter in their efforts to build digital businesses, cut costs and manage a decline in broadcast advertising dollars as consumers shift to newer entertainment platforms.   

iHeartMedia’s consolidated revenue of $997 million was down just 1.1%, well within the company’s guidance of a low single-digit decline. Excluding the impact of political advertising in the prior-year period, revenue was up 2.8%. CEO Bob Pittman said during the company’s earnings call on Monday (Nov. 10) that the advertising environment is “pretty good” and iHeartMedia is “not feeling anything” related to the U.S. government shutdown. 

An operating loss of $116 million stemmed from a $209 million impairment charge related to the value of iHeartMedia’s FCC licenses. Excluding the impact of the write-down and other extraordinary items, adjusted earnings before interest, taxes, depreciation and amortization (EBITDA), a common measure of profitability from ongoing operations, was flat at $205 million.   

The multi-platform division, which includes iHeartMedia’s broadcast and network businesses, had revenue of $591 million, down 4.6% due to lower political advertising and what the company called “uncertain market conditions.” Adjusted EBITDA of $119.2 million marked an 8.3% decrease from the prior-year period, despite lower employee compensation costs.  

The digital audio group, which includes podcasts, had revenue of $342 million, up 14%, and adjusted EBITDA of $130.3 million, up 30.3%. Podcast revenue increased by 22% to $140 million.   

Based on trends for the top advertisers and advertising agencies, Pittman said he has “confidence” that the multi-platform division will return to revenue growth. “We’re feeling similar momentum to what other ad-supported companies have discussed right now: Spending is holding up, and discussions with advertisers are positive,” he noted on the company’s earnings call. Although iHeartMedia has not felt any impact from the government shutdown, Pittman conceded it “does add a level of uncertainty.” 

iHeartMedia said it remains on track to create $150 million in annual cost savings in 2025. In addition, the company took steps in the third quarter to save an additional $50 million in 2026, which COO/CFO Rich Bressler said will come mainly from the multi-platform division.  

Looking ahead, iHeartMedia expects fourth quarter revenue to be down in the low single digits. Adjusted EBITDA is expected to be $200 million to $240 million, down from $246 million in the prior-year quarter because of political advertising in the 2024 election year. The multi-platform division is expected to be down in the low single digits. Digital revenue is expected to grow in the high single digits, and podcast revenue specifically is expected to grow in the mid-teens.  

Cumulus Media, the country’s third-largest radio broadcaster by revenue, reported that third-quarter revenue fell 11.5% to $180.3 million. CEO Mary Berner cited a “challenging” advertising environment and touted Cumulus’s efforts to cut costs and employ AI to improve efficiency. Broadcast revenue plummeted 17.2% to $115.0 million. Digital revenue fell 2.6% to $39.0 million but would have grown 8.4% without the losses of The Daily Wire and conservative commentator Dan Bongino, who left podcasting to become the deputy director of the FBI. Consolidated adjusted EBITDA fell to $16.7 million from $24.1 million a year earlier.  

Townsquare Media faced “numerous headwinds,” CEO Bill Wilson said in a statement, but the company met its previous guidance on revenue and adjusted EBITDA. Revenue dropped 7.4% to $106.8 million and would have dropped 4.5% if political advertising were excluded. Adjusted EBITDA fell 13.5% to $3.4 million.  

iHeartMedia shares fell 6.0% to $4.29 on Tuesday (Nov. 11) following the earnings announcement on Monday afternoon. The stock had jumped 55.9% in the week ended Nov. 7 following a report that the company was in talks with Netflix to distribute its podcast content. 

Cumulus Media shares soared 31% to $0.135 the day after the company released earnings on Oct. 30. The stock has since lost all of those gains and more, however, and closed at $0.10 on Tuesday (Nov. 11).  

Townsquare Media shares fell 11.3% to $5.42 on Monday following the quarterly earnings report. The stock rose 0.6% to $5.45 on Tuesday.