\n\tHappy New Year, everyone! This past year saw a new administration, a rapid onslaught of AI news and some of the biggest deals in history across all media \u2014 and we\u2019re just getting started. Here at Manatt Entertainment, we get the unique vantage point of how the market moves via hundreds of transactions. And rather than holding my opinion to our teams and those who pay us, I think there\u2019s a benefit to sharing perspective and experience, so we can all approach our jobs to promote the arts in a better way. Here\u2019s what I think we can expect to see more of in 2026.\u00a0\u00a0<\/p>\n
\n
\t\t\t\t\tRelated\t\t<\/p>\n<\/h3>\n
\t\t\t\t\t\t![\"The](\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/12\/kennedy-center-donald-trump-dec-26-2025-billboard-1800.jpg?w=237&h=147&crop=1\")
<\/p><\/div>\n
\t\t\t<\/a>\n\t<\/div><\/div>\n<\/div><\/div>\n<\/div>\n
\n\tThe AI Bullet Train<\/strong><\/p>\n \n\tExpect more rapid-paced shock and awe in the world of AI. We will see more \u201cAI artists\u201d making debuts, more market deals between content aggregators and AI companies, and more surprises that no one is expecting. As to the market deals with AI companies, I would caution knee-jerk reactions and underscore the importance of the three Cs as it relates to music creators: Clarity, Consent and Compensation. Shout out to the Music Artists Coalition for establishing the mandate, and many thanks in advance to the record labels and music publishers that adhere strictly to these guidelines.<\/p>\n \n\tIn the world of name, image and likeness, as we saw in 2025, Sora 2\u2019s launch led to thousands of videos embodying deceased celebrities. Watch for development on that front as these estates decide what to do about such rampant infringements. Also watch for progress on the NO FAKES Act in Washington, which would establish a much-needed federal right of publicity in the face of rampant deepfakes that erode trust in what you see. Shout out to SAG-AFTRA and the RIAA for working the Hill on behalf of all creators.<\/p>\n \n\tAnd as it relates to so-called AI artists, think about this: how far is too far? AI is an excellent tool for lyric workshopping and production amplification \u2014 it\u2019s a tool to help a creator start when starting can be so hard. There is also freedom in artistry, where an artist can explore genres, ideas, delivery and artistry, all within moments, all at their fingertips. When does this process become inauthentic? There is no easy answer. There is no black and white, only shades of grey. I would encourage tolerance. At the end of the day, the fans will decide what they want to listen to. For every AI artist, there\u2019s Harry Styles<\/a>, Bj\u00f6rk<\/a>, The Postal Service<\/a>, OutKast<\/a> and The White Stripes<\/a> to reckon with. If people look at these icons of art and decide robots make better music, we have bigger problems.\u00a0\u00a0<\/p>\n \n\tThe Ticketing Battles Will Continue<\/strong><\/p>\n \n\tEvery year, we face an onslaught of state and federal bills attempting to strip artists of their right to control ticket pricing for their fans. These bills are funded by \u201cconsumer groups\u201d backed by the secondary ticketing market. There is a jaw-dropping number of state and federal legislators who are duped by this astroturfing, failing to understand that protecting artists means protecting their fans. There is no consumer advocacy group greater than music artists, whose entire careers are focused on building and fostering a fan base.<\/p>\n \n\tOn the other side of the coin is Live Nation\/Ticketmaster, which this year will be presenting at trial against the DOJ, defending an ongoing FTC litigation, along with a handful of other private lawsuits. These astroturf groups use the false public view of Live Nation (more on this next) to turn lawmakers against the very people they\u2019re trying to protect and ignore artists in the process. As it relates to Live Nation and its relationship with music artists, my personal experience \u2014 and those of my fellow artist representatives and advocates \u2014 is that it is and has been an excellent partner, oftentimes going out of its way to solve problems or provide non-contractual incentives to artists on tour. In a world where a lot of major multinational organizations prey on music artists, Live Nation, again and again, has exhibited an artist-first policy that resonates. Hopefully, there\u2019s a way to better explain this to lawmakers in 2026.<\/p>\n \n\tThe Revolution Will Not Be Televised<\/strong><\/p>\n \n\tThere is a growing, massive force of nature in media called the creator economy: People making content on their own with no gatekeepers, which, I dare say, was inspired by our small and mighty music business. It\u2019s an industry that, according to a Goldman Sachs report, is expected to reach a value of $480 billion by 2027, and backed by social media giants like YouTube, Meta and TikTok. The ecosystem expands to concentric rings of streamers, consumer goods, video podcasts (which are back and bigger than ever) and native branded advertising. Where they aren\u2019t is traditional television, which has been eclipsed in attention by all of the above.<\/p>\n \n\tThese creators \u2014 from music artists, to stuntpeople, to chefs, to dancers \u2014 have changed the way people interact with media. It has changed the way media companies budget and measure success. It has changed how advertisers spend. Watch for this world to continue to evolve in 2026, and for savvy music artists to take advantage of this tidal wave of engagement. And here\u2019s hoping that YouTube wakes up and decides to pay creators more.<\/p>\n \n\tDamn The Man<\/strong><\/p>\n \n\t2026 brings another year of the Trump administration. You\u2019ve probably seen the news of his White House trolling our national treasures like Jack White<\/a>, Olivia Rodrigo<\/a> and Sabrina Carpenter<\/a>, destroying cultural institutions, and gutting funding for our bedrock cultural establishments. We started 2025 with a recoiling in reaction to the rapid-fire efforts of the Trump administration to do all the above, and for a moment, we wondered if anyone would speak up. And then we did. And, while celebrities have begun to realize that random statements do not turn the tide, what folks have also started to realize is that acting after speaking has tremendous collateral effect.<\/p>\n \n\tLook no further than Chappell Roan<\/a>\u2019s speech at the Grammys regarding healthcare for music workers, and her subsequent donation to Backline, which was followed by Noah Kahan<\/a> and Charli xcx<\/a>, among others. And then look at what Billie Eilish<\/a> said at WSJ Magazine\u2019s 2025 Innovator Awards, calling on billionaires to give money to \u201cpeople that need it,\u201d followed by her donating her entire tour profits (valued at over $11 million) to organizations supporting food access and combating the climate crisis. I see more of this coming in 2026, and welcome it with open arms.<\/p>\n \n\tSo, what does 2026 bring? Change. Let\u2019s embrace it as the constant, lock arms in artist advocacy and blaze through. Welcome to the future, everyone: it\u2019s brilliant, beautiful, exhilarating and terrifying. The hallmarks of a timeless song.<\/p>\n \n\tJordan Bromley leads Manatt Entertainment, a legal and consulting firm providing services to the entertainment industry for over 45 years. He sits on the Board of Directors for the Music Artists Coalition, an artist-first advocacy coalition established in 2019.\u00a0<\/p>\n
![\"Billboard](\"https:\/\/i.imgur.com\/2HpFicp.png\")