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),

Offset has signed with Wasserman for representation, because at a certain point in your post-Migos evolution, you stop trying to run the playbook and start trying to own the team.

This is not a small move. Wasserman is the kind of place you go when you’re thinking beyond the tour—when brand equity needs structure, not just style. Offset, still managed by Full Stop, joins a roster that knows how to build global franchises out of genre-benders, crossover acts, and cultural lightning rods. Which, let’s be honest, is Offset in a nutshell.

He was previously with IAG, but this is different. This is clean lines and long-term strategy. This is “I’m not just a rapper, I’m a property.”

Offset has over 15.5 million monthly listeners on Spotify, and if you’re mapping influence, you’ll find him blaring out of speakers in Chicago, Toronto, Dallas, L.A., and Sydney—because hip-hop globalization doesn’t need a passport, just bass. His most recent single, “TEN”, dropped on Valentine’s Day

Marsal Ventura has signed with Analog for worldwide representation, which feels right for a DJ who treats genres the way tapas treats food groups—grab a little of everything, don’t overthink it, and make sure it pairs well with something loud.

Ventura’s not new to this. He’s been building dancefloors and twisting expectations since long before techno flamenco was something people took seriously—or Googled to make sure it wasn’t a typo. Now, he’s clocking 255,000 monthly listeners on Spotify, with Spain lighting up the heatmap like it’s voting in Eurovision. Madrid, Barcelona, Valencia, Bilbao, Málaga—it’s less of a fanbase and more of a distributed rhythm section.

His latest remix, “Caballo Maldito,” blends techno kick drums with flamenco handclaps like it’s trying to out-seduce both Berlin and Seville at the same time. And somehow, it works. It’s not EDM. It’s not traditional. It’s… emotionally percussive. It’s what happens when you turn a Spanish horse chant into a club anthem.

Marsal’s played