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It’s 9 p.m. on a Wednesday evening in Miami, and Ty Baisden is still taking care of business with an energy level that belies the hour.

“I’m a firm sleeper who gets my eight hours,” says Baisden, his Georgian drawl giving way to laughter. “But what I don’t do is the bulls–t. So subtract the bulls–t, and you’ve got a lot of time to work and a lot of time to rest.”

That philosophy has anchored Baisden since he broke into the business as a manager in 2008. During that time, the native Atlantan also closely observed successful creative/business partnerships including Disturbing Tha Peace Records with Ludacris and Chaka Zulu and Grand Hustle Records with T.I. and Jason Geter.

Given the tenuousness of most manager-artist relationships, Baisden wanted to apply that collaborative model to the right act. “I was like, ‘I’ve got to find an artist that will want to partner with me where they deal with all the creative and I deal with all the business. Then we can build a company together, and we’ll be protected because the company is our protection.’ ”

In 2014, he found an ideal ­artist-partner in Brent Faiyaz after discovering him on SoundCloud. “It wasn’t an easy thing,” Baisden recalls. “I had executives telling me, ‘Don’t partner with artists; that’s dumb.’ And I had artists thinking, ‘No, I’d rather do something with a major label.’ Brent was the first artist that really believed in the overall process of that kind of partnership.”

Over the last nine years, the business alignment between Baisden’s firm COLTURE — an acronym that stands for Can Our Leverage Teach Us Real Equity — where he is head of ventures and innovation — and Faiyaz’s Lost Kids label has yielded several successes. Among them: Faiyaz’s 2020 EP, F–k the World, bowing at No. 20 on the Billboard 200, followed by his momentous No. 2 debut with second studio album Wasteland — against Bad Bunny’s multiweek No. 1 juggernaut Un Verano Sin Ti — in 2022.

Then in 2023, Faiyaz’s F*ck the World, It’s a Wasteland Tour grossed $5.3 million and sold 68,000 tickets over 18 shows, according to Billboard Boxscore. Separately, in 2023, he launched his own creative agency, ISO Supremacy, in partnership with UnitedMasters. (Baisden is not involved.) ISO joined forces with PULSE Records in an artist development joint venture, and in May struck gold with genre-melding R&B singer Tommy Richman, whose “Million Dollar Baby” has spent two weeks at No. 2 on the Billboard Hot 100.

Splitting his time between Atlanta and Miami with a 22-member staff, Baisden, 40, works alongside COLTURE co-founder and head of creative services Jayne Andrew and partner Paris “PK” Kirk. The three are also co-founders and equity partners in COLTURE Holdings, which houses the firm’s nonmusic-related businesses.

“I don’t manage artists,” Baisden says of the business he has built with Faiyaz. “The skin that I have in the game is seeing another Black man be successful in whatever they want to do.”

What COLTURE accomplishment stands out over the last 18 months?

Our company vertically integrated and built Brent’s [2023] tour from start to finish. Usually, management will hire out for everything to get done. I partnered with Wasserman Music’s Callender to route it and negotiate the deals. Meanwhile, I handled the entire budget. Jayne handled all the band details, creative direction and making sure Brent felt comfortable onstage while PK handled all the lifestyle and afterparty events. And we each split time going to the different [tour stops] and booking the buses, freight and travel.

That’s not the job of managers, but we’re not managers; we build businesses. To build a business, you’ve got to manage the budget so you can determine your margin. Brent’s tour profited because we controlled every single dollar that was spent. I just think that’s very loud. So many people go out on the road and don’t make money. The artist gets paid, but when it’s time to do your balance sheet, you come out in the red. Many times, when you have other people managing a big lift, you’re going to get blindly overcharged.

How does the COLTURE partnership with Faiyaz and Lost Kids work?

Christopher Brent Wood [Faiyaz’s birth name] and I are business partners. When Christopher turns into the artist Brent Faiyaz and I’m operating on the latter’s behalf, then my job title is manager, for which I get a percentage. That’s probably the best way I can put it. We’re 50/50 partners in Lost Kids, under which we have multiple businesses. That was basically our handshake to one another in the beginning. Those projects and his tours are the financial seeds for Brent and me to go out and make individual investments. Lost Kids gave Brent the opportunity to invest in ISO Supremacy with his high school friend Darren Xu, and now they’re having a huge success with Tommy Richman. Beyond music and publishing, our biggest investments under Lost Kids involve real estate in Atlanta and Dallas and more than 20 startup companies, including Athletic Greens, Therabody, Audio Shake and Seed. And the great thing is three of those four companies — Seed, Audio Shake and Athletic Greens — are led by women.

Lost Kids also sponsors annual initiatives on behalf of female executives and entrepreneurs.

We just finished our fourth annual Show You Off grant program, giving 12 women $10,000 grants each to run their own business or launch a new idea. One of the policies of the grant is to reward Black women that are from the DMV [Washington, D.C., Maryland and Virginia] area. This year was a heavy one with new ideas involving STEM companies, [artificial intelligence] technology, electric batteries, etc. Thus far, we’ve donated about half a million dollars or more to Black women-helmed businesses.

What additional clients and businesses are under the COLTURE umbrella?

On the producer side, we have Nascent, who’s just finishing his project, Don’t Grow Up Too Soon, that we’ll distribute independently; Jordan Waré and Dpat, who have both worked with Brent. We have a partnership with [podcast] Million Dollaz Worth of Game to help [former rapper/co-host Gillie Da Kid] build out a music division. We’re doing their artist N3wyrkla’s first rollout with Troy Carter’s Venice Music. We collaborate as well with [pop duo] Emotional Oranges on distribution and creative direction when needed. Then, in the same kind of partnership I have with Brent, there’s Canadian female artist Kalisway, who writes and produces funk and R&B. Lastly, we’re helping actor Malcolm Mays [Starz’s Raising Kanan] launch his music career to diversify his business.

What’s the biggest issue facing the independent community right now?

An indie company can put out a song and the song can blow up, but more than likely, the company doesn’t have sufficient infrastructure to make sure everybody’s paid fairly based on their contributions to the record that just changed their artist’s life. The artist and the label are going to get big checks, but the songwriters and producers are probably going to get paid a year or two later, depending on how savvy their manager is — if they even have a manager.

Where do you envision COLTURE three to five years from now?

We have a 10-year plan outlining that parent company COLTURE Holdings will be generating $100 million in revenue by 2030. That’s the goal. Over the next three years, we’re launching our full-fledged media department, including TV, film, podcasting and digital content. The sports division is developing, and we’re continuing our real estate operation. We’re basically building a community and a pipeline for disrupters who can either stay within our ecosystem or build their own businesses.

Additional reporting by Shira Brown.

This story originally appeared in the June 8, 2024, issue of Billboard.