Edge of Paradise, the symphonic-metal-meets-cyberpunk-hard-rock band that sounds like the soundtrack to a dystopian space opera where androids have trust issues, has a new booking agency. The Kirby Organization (TKO) will now handle the band’s representation worldwide—everywhere except South America, where IDL Entertainment continues to hold court. FM Music Management remains firmly at the helm, guiding the group’s overall strategy like a gothic Gandalf.

Spotify puts their monthly listener count north of 41,000, with Helsinki, Los Angeles, Stockholm, Jakarta, and Ashburn, Virginia forming a surprisingly geographically scattered fan map. (What do Finnish metalheads and suburban Virginians have in common? Apparently, a taste for power vocals and post-apocalyptic guitar riffs.)

Touring-wise, the band has previously jumped on lineups with genre heavyweights like HammerFall and Sonata Arctica, which in metal circles is the equivalent of getting knighted at the castle gates.

Three Days Grace has signed with IAG for representation across the United States and Mexico, expanding their North American touring team. They remain with Joel Baskin at The Feldman Agency for Canadian representation and continue to be repped internationally by Wasserman Music. Management remains with Q Prime, whose longstanding partnership with the band has guided their evolution from post-grunge stalwarts to arena rock mainstays.

With over 16.4 million monthly listeners on Spotify, the

Duke Dumont, the genre-shaping producer and DJ behind some of the most enduring dance anthems of the last decade, has tapped UK-based DawBell for PR representation. He continues to be managed by Redlight Management and represented by Wasserman for live bookings.

Best known for his breakout 2013 single “Need U (100%)” featuring AME—which hit No. 1 on the UK Singles Chart and earned a Grammy nomination—Dumont has remained a staple of global dance music with hits like “Ocean Drive,” “I Got U,” and “The Power.” His 2020 debut album Duality showcased his evolution from festival king to introspective producer, blending house, ambient, and soul-inflected electronica.

Today, he dropped his latest single, “I Need You Now,” via EMI—another melodic slow-burner with his signature emotional punch.

Dumont has played some of the biggest stages in the world, including Coachella, Tomorrowland, Creamfields, Ultra Music Festival, and Electric Daisy Carnival. With over 8.8 million monthly listeners on Spotify, his top markets—London, Sydney, Dublin, Melbourne, and Manchester—show

NLE Choppa has signed with Wasserman for representation. If you’re looking for chill, NLE Choppa is not your guy. The Memphis-born rapper—who went platinum at 16 and now commands north of 17.5 million monthly Spotify listeners—has built his brand on full-throttle energy, clean-living contradictions, and a catalogue that toggles between raw menace and surprisingly introspective bars.

Now, he’s turning that momentum into management muscle, signing with Wasserman for representation just as he hits the road on Lil Baby’s WHAM World Tour. It’s a move that aligns one of hip-hop’s youngest disruptors with one of entertainment’s

Ty Dolla $ign, whose stage name sounds like an accounting error but whose discography sounds like money, has officially left WME and signed with Wasserman. The new team: Matt Adler, Brent Smith, Tessie Lammie, and James Rubin. That’s four agents for one artist, which is either overkill or a statement of intent.

The agency switch comes as Ty readies his new solo album, TYCOON, set for release July 18 via Atlantic. Presumably, the title is aspirational, but also accurate—this is a man who’s quietly featured on half your playlist and probably owns a solid chunk of your summer memories.

He’s still managed by SALXCO and repped for PR by Biz3, meaning the business infrastructure remains unchanged. Only the outer shell—the shiny Wasserman badge—has been swapped.

Strategically, the timing makes sense. He’s fresh off Vultures 1 and 2, his very loud collaboration with Ye (the artist formerly known as the artist formerly known as Kanye West), which put him back in the cultural bloodstream like an intravenous drip of chaos and melody.

But Ty isn’t just the guy you call for a hook when The Weeknd is busy. His solo work has been influential in its own right—“Paranoid,”

Ayra Starr has signed with Roc Nation for management. She’ll still be repped by CAA in North America and UTA for Europe and the UK. Which makes sense, because when your sound travels faster than your passport stamps, it takes a village of agents to keep up.

The 21-year-old Nigerian singer has spent the last two years quietly becoming one of the most streamed African artists in the world, though “quietly” might be misleading. Her debut album 19 & Dangerous put her on the map, but The Year I Turned 21, released last May, made it clear she isn’t interested in staying on just one. Her newest single, “Gimme Dat” featuring Wizkid, dropped this April via Republic and Mavin—and it’s already sounding like summer across Lagos, Bogotá, and Santiago.

With over 18 million monthly listeners on Spotify and a fanbase that spans continents (and time zones), Starr is one of the faces leading afrobeats into a new, global chapter. She’s already lit up stages at Roskilde, Afro Nation, and Lost in Riddim. Now, with Roc Nation behind the curtain, it’s safe to assume we’re about to see Ayra go from “rising” to “ubiquitous.”

Rockin’1000—the self-described “biggest rock band on Earth”—has signed with International Talent Booking (ITB) for representation worldwide, excluding North America. Point agents Filippo Mei and Lucia Wade will lead the charge, while the group remains under the watchful eye of founder and CEO Fabio Zaffagnini.

What began in 2015 as a passionate plea to get the Foo Fighters to play Cesena, Italy—via a viral video of 1,000 musicians playing “Learn to Fly” in unison—has evolved into a global phenomenon. Think Glastonbury meets garage band. Rockin’1000 has since become a musical movement of over 100,000 musicians across more than 100 countries, performing massive rock covers with the full force of stadium-sized humanity. Picture 250 drummers, 500 guitarists, and a wall of vocals belting Queen—all on the same stage.

Their performances have electrified venues like Stade de France, Frankfurt’s Deutsche Bank Park, and Brazil’s Allianz Parque. They’re less a band than a logistical miracle: a reminder that

Miguel has signed with The Chamber Group for PR representation. He continues to be repped by CAA for live/touring, because of course he does; at this point, Miguel’s concerts are less about ticket sales and more about fabric softener demand from fans throwing silk shirts on stage.

Spotify tells us he’s still floating north of 27.5 million monthly listeners, with his most obsessive fan clusters living in Los Angeles, Sydney, Jakarta, Chicago, and London. You could attribute that geographic spread to global streaming habits or simply assume those are the cities with the most well-lit bedrooms.

Miguel’s live footprint is equally cosmopolitan. Over the years, he’s graced the stages of Coachella, Lollapalooza, and Made in America, typically as the guy you book when you want the crowd to stop scrolling TikTok and feel something in their soul—or, at minimum, in their hips.

In print and pixels, Miguel’s been a fixture of the glossy magazine world. He’s landed in GQ, Billboard, Flaunt, and more, usually photographed somewhere between mid-conversation and mid-seduction, in a silk robe or leather pants, occasionally both. Fashion, like genre, bends around him.

A Chamber Group partnership

If there’s one thing Wasserman knows how to do, it’s take global icons and make them slightly more global. Prince Royce, the Bronx-born bachatero who made heartache sound like a dancefloor proposition, has officially signed with Wasserman for worldwide representation (minus the part of the world where bachata was arguably born). Because why not expand your empire—selectively?

Royce’s team remains a steady triangle: Walter Kolm Entertainment on management (the Latin music whisperer), Nieman Group on PR (because someone has to craft the headline when your heart gets broken in 4/4 time), and now Wasserman to handle the booking side of his eterna career trajectory.

This isn’t a case of artist-trying-to-make-a-comeback. Royce has never really left. He first broke out in 2010 with a bachata rework of “Stand By Me” that somehow turned a 1960s soul classic into the unofficial slow dance anthem of every quinceañera between Miami and Queens. He followed that up with “Corazón Sin Cara”, which was less a single and more a gentle reminder that beauty is skin-deep but charisma is eternal.

Since then,

Trey Songz—the man who helped a generation of R&B fans confuse love with texting at 2 a.m.—has officially signed with Independent Artist Group (IAG) for representation. Yes, that Trey Songz. The inventor of the “Sex Playlist” energy before streaming platforms made those literal, the crooner who somehow made the phrase “Neighbors Know My Name” sound like both a flex and a zoning violation.

With over 8 million monthly Spotify listeners, and core fanbases across Sydney, Chicago, Los Angeles, Dallas, and Atlanta, Mr. Steal Your Girl is still very much on the playlist and in the bloodstream. His latest single, “Say the Word”, dropped this month as an independent release—because when you’ve already spent years signed to Atlantic and sold millions, sometimes you just want to whisper sweet nothings directly to your audience with no middlemen.

Trey, whose real name is Tremaine Neverson (which already sounds like a lost member of the royal family who moonlights at Drai’s),