Atlantic Records
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Now that it’s officially summer, we can start calling 2024 the summer of BRAT. Charli XCX’s sixth studio album, released June 7 on Atlantic Records, has taken the internet, and dance floors, by storm, spawning memes, jokes and posts galore, all colored the fluorescent “brat green” on social media — and that’s before you even get to the music. The record itself is a triumph of dance-pop that has not only ignited Charli’s legions of fans but brought her the biggest debut week of her career, having moved 82,000 equivalent album units in the United States to debut at No. 3 on the Billboard 200.
It’s a testament to the groundswell of support that Charli has cultivated, and that her management team, creative and design teams, and label Atlantic Records have helped nurture. The album arrived with 14 different vinyl variants and a number of exclusive editions, helping to sell 45,000 copies (the biggest sales week of Charli’s career) while becoming nearly inescapable in the cultural discourse. It also proved that Charli is a true innovator who’s much more than the “Boom Clap” and “I Love It” hits of a decade ago, or even the songwriting superstar she’s been for other artists throughout her career. All that hype and success has helped Atlantic’s vp of marketing Marisa Aron earn the title of Billboard’s Executive of the Week.
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Here, Aron discusses the marketing plan and rollout of BRAT, how Charli helped build hype for the album more than a year ago and the groundswell of support — including a gigantic record-store listening party at more than 170 stores across the country three days before the album’s release — that led into BRAT’s debut. But just as the solstice has only passed this week, there’s much more to come: as Aron puts it, “BRAT Summer has just begun.”
This week, Charli XCX’s BRAT debuted at No. 3 on the Billboard 200 with 82,000 equivalent album units, her biggest first week ever. What key decision did you make to help make that happen?
The success of BRAT is a testament to Charli’s incredible artistry and vision. She not only created the most culturally important pop and dance album of the year but also delivered a masterclass in artistic direction and marketing strategy. Charli has an amazing team, and together with the unwavering support from our team at Atlantic we all worked to execute her vision to the fullest. Our key decision? To trust her implicitly. We fully embraced her vision, her plan, her ideas and helped her bring BRAT to life.
What was the overall marketing plan for the release?
The marketing plan for BRAT is all about amplifying Charli’s authentic voice and connecting directly with her fans. We knew we had an incredibly important album on our hands, one that was innovative, bold, fun, loud and would create a lot of conversation. We wanted to put together a campaign that captured that energy and put BRAT into the cultural zeitgeist. The plan doesn’t end with the album release; stay tuned, there is a lot more to come.
The album also sold 45,000 copies, her largest sales week ever, including 14 different vinyl variants. What was your guys’ approach to physical for this album, and how did it pay off?
The physical release plan was so much fun to put together. It was a collaborative effort between Charli; [creative director] Imogene; design team SPECIAL OFFER, Inc.; Charli’s management team; and our team at Atlantic. From the start, we wanted to create a series of limited-edition drops that would keep fans excited throughout the campaign. It was important that each variant felt unique and special both in design and in the rollout.
We started the campaign ahead of the album and artwork announcement with the limited edition 360_brat vinyl, released at first only to Charli’s followers on her private Instagram. This moment helped set the tone for the rest of the campaign. When the official album pre-order went live, we partnered with major retailers like Target and Urban Outfitters, as well as local record stores, Blood Records and more to create exclusive variants that gave fans more options to choose from.
On Tuesday, June 4th, we unleashed BRAT into the world a little early. Thousands of Charli’s fans went to their local record stores for a first listen, three days before the official release. It was a massive undertaking — Atlantic’s biggest listening event campaign ever — with 179 stores across the country.
BRAT’s physical release wasn’t just about sales figures; it was about creating a deeper connection with fans. From the unique packaging that you have to rip into to get to the music, to the events and limited-edition drops, it is a reminder that in the digital age, the physical album can still be a powerful, personal and meaningful experience.
This album almost immediately became a cultural touchstone, and was a huge talking point online, with fans making memes of the cover art and the color palette seemingly everywhere. What was your approach to the digital marketplace for the project?
The BRAT campaign started in February when Charli threw a legendary Boiler Room in Brooklyn with A. G. Cook, George Daniel, Finn Keane and Doss, drawing a record-breaking 40,000 RSVPs — the most in the history of Boiler Room. There were surprise appearances from Addison Rae and Julia Fox. This was the first time people got to hear a few tracks from the forthcoming album, turning it into one of the year’s most viral moments and really setting the tone for what was to come.
The approach was about creating really memorable moments both online and in real life, from surprise DJ sets, exclusive Club Angel events, single reworks with Addison Rae, Robyn, Yung Lean, Skream and Benga to one of the most talked about music videos of the year (“360”) and so much more. We carefully planned out the timing of it all.
The “brat green” that we all have filling our timelines right now goes back to Charli’s brilliant vision for BRAT artwork. Once the artwork was revealed fans started to recreate it themselves, which inspired us to launch the brat generator. From there, it really started to take on a life of its own. We continued to incorporate brat green throughout all the marketing. One of the most fun pre-album moments in the campaign happened in Brooklyn a few days before “360” was released. Terry [from the digital team] had an amazing idea of painting a huge wall “brat green” during a livestream, and thus the “brat wall” was born.
It’s been 12 years since Charli first hit the Hot 100 top 10 with her feature on Icona Pop’s “I Love It,” and 10 years since Charli’s first solo Hot 100 top 10 with “Boom Clap.” Her career feels bigger now than it’s ever been. How did you energize those day one fans and pull in new ones for the run-up to this release?
Speaking from my own experience, it honestly is just really fun to be a Charli fan. For example, a full year before the album campaign even started Charli brilliantly started a new private Instagram account, @360_brat. What goes down on that account is strictly confidential, so I won’t give too much away. But Charli’s early vision and authenticity has made BRAT an undeniable phenomenon which really resonated with her early fans, and then throughout the campaign brought new fans in.
Pete Ganbarg is stepping aside as Atlantic Records’ president of A&R, a role he has held since 2018, to launch Pure Tone Records, a joint venture with the label. The first artist signed to Pure Tone Records is platinum Canadian singer/songwriter Forest Blakk, whom Ganbarg originally signed to Atlantic.
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Ganbarg, who has worked at Atlantic for almost 16 years, will continue to A&R several acts on the Atlantic Music Group roster, including twenty one pilots, Shinedown, Gayle, Halestorm, and others.
“The launch of Pure Tone Records as a standalone label is an exciting moment for me,” Ganbarg said in a statement. “It’s the best of both worlds – a golden opportunity to run my own shop, while at the same time having the backing of the outstanding Atlantic team who I’ve worked with so closely over the past 15-plus years.”
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“For the past 16 years, Pete has brilliantly led our A&R mission – discovering, signing, and championing a genre-crossing array of hit artists, while also boosting our theatrical presence with a string of award-winning cast albums,” Atlantic Music Group Chairman & CEO Julie Greenwald and Atlantic Records Chairman & CEO Craig Kallman said in a statement. “At the same time, he’s mentored and built a fantastic A&R team who are expert at nurturing baby acts and superstars alike. The formation of Pure Tone is an important event for Pete and Atlantic, as he brings his decades of experience, his impeccable taste, and great ears to steering his own ship, and we’re thrilled to be his partners on this exciting next phase of his musical journey.”
If the name Pure Tone sounds familiar, Ganbarg has been using the moniker for nearly two decades. He formed Pure Tone Music prior to joining Atlantic as an A&R consultancy, whose clients included Kelly Clarkson, Chaka Khan, Santana, Aaron Neville, Donna Summer, and others. He also operates a pair of publishing joint ventures with WMG’s Warner Chappell Music under that name. Its writers have achieved multiple gold and platinum certifications, including the 2024 Grammy-winning record of the year, Miley Cyrus’ “Flowers.”
“I’m looking forward to making Pure Tone [Records] a home for exceptional, original talent, and at the same time, I’m very happy to continue to work with my amazing Atlantic artist roster,” Ganbarg continued. “I want to thank Julie and Craig for their tremendous support over the years, and for having the faith to join me in this new adventure.”
The New York-based Ganbarg joined Atlantic in 2008 as executive vp of A&R. Through his tenure, he signed or shepherded recordings by twenty one pilots, Halestorm, Jason Mraz, Christina Perri, Melanie Martinez, Skillet, Brett Eldredge, Matchbox Twenty & Rob Thomas, among others.
He also led Atlantic’s tremendous success with Broadway cast albums, including co-signing and A&R’ing the Diamond-certified original Broadway cast recording of Hamilton. He won Grammy Awards as a producer of the original Broadway cast recordings of Dear Evan Hansen and Jagged Little Pill, and more recently oversaw the Broadway cast recordings for this season’s Tony-nominated shows, Suffs and The Notebook. He also worked on the soundtrack for The Greatest Showman and Daisy Jones & The Six.
Ganbarg began his A&R career in 1989 at SBK Records. In 1997, while at Arista Records, he conceived and A&R’d Santana’s 30x platinum worldwide, nine-time Grammy-winning Supernatural.
There is no word on Ganbarg’s successor as president of A&R.
Atlantic Records has hired veteran executive Luis “Lu” Mota as evp of A&R, the label announced on Tuesday (May 7). Mota, who’ll work out of Atlantic’s NYC headquarters and report to co-president of Black Music Lanre Gaba, arrives from Columbia Records where since 2018 he was instrumental in the signing and developing of hip-hop stars […]
Atlantic Music Group chairman/CEO Julie Greenwald announced layoffs of about two dozen people Monday (Feb. 26), primarily in the radio and video departments, in an internal memo to staff obtained by Billboard. As part of the announcement, Greenwald also said the company would be “bringing on new and additional skill sets in social media, content creation, community building and audience insights,” with the goal of “dial[ing] up our fan focus and help[ing] artists tell their stories in ways that resonate.”
Greenwald, who has been at Atlantic Records for 20 years, was named chairman/CEO of the newly-formed Atlantic Music Group in October of 2022, with oversight of Atlantic Records and its subsidiaries (Atco, Big Beat, Canvasback) as well as 300 Elektra Entertainment, which includes 300, Elektra, Fueled By Ramen, Roadrunner, Low Country Sound, DTA and Public Consumption. In that role, she is still co-chair/COO of Atlantic Records alongside co-chair/CEO Craig Kallman.
“Our artists today need more support from us than ever — in a world that’s getting noisier, faster, and more fiercely competitive,” Greenwald wrote. “We have to do more, but at the same time, our approach has to be authentic, bold, and bespoke to individual artists. We can’t impact culture if we don’t have the right mix of people who live that culture. That’s why we need dedicated teams of multi-talented, ambidextrous people — our ‘SWAT teams’ — who encircle the artist and do everything possible to help achieve their full potential.”
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The news comes three weeks after Warner Music Group CEO Robert Kyncl announced that WMG would be cutting its staff by 10%, or some 600 employees, amid a broader reallocation of resources that will involve selling its owned and operated media properties, such as HipHopDX and Uproxx. That move came the same day that Warner announced it had had its best quarter ever, with revenue up 17% to $1.75 billion, and that the moves would be about freeing up some $200 million to reinvest in the company.
However, Greenwald made a point to write that this move was not about merging or shuttering labels, but about repositioning the label group for the future. “We’ve all heard the same industry rumors about labels being reduced or merged into one another. I can tell you: this is not that,” she wrote. “We’re deeply committed to the unique cultures across our labels, led by 300, Elektra and Atlantic. Craig, Kevin [Liles, CEO of 300 Elektra], and I passionately believe these identities are crucial to attracting great artists and building great careers. We want artists to be choiceful about the culture and team they belong with, just as we’re thoughtful about deciding which artists we’re signing.”
Read Greenwald’s full note to staff below.
Dear Atlantic, Elektra and 300,
Two weeks ago, during the all hands call you heard Robert and Max talk about the evolution of our music company. They tasked us last year to examine our staffing and ask the tough question, how do we achieve maximum impact for our artists in this ever changing landscape?
As hard as it is to say goodbye to our friends and valued colleagues, it is critical that we keep retooling the company and add new resources and skill sets to our business units. I have now been at Atlantic for 20 years. The company has grown and evolved tremendously, because we have not been afraid to implement change and add new marketers, new A & R, new data and research and even new labels. Always evolving but with a consistent North Star : sign the best musicians and commit to the hardest work of building real careers through true artist development.
Our artists today need more support from us than ever – in a world that’s getting noisier, faster, and more fiercely competitive. We have to do more, but at the same time, our approach has to be authentic, bold, and bespoke to individual artists. We can’t impact culture if we don’t have the right mix of people who live that culture. That’s why we need dedicated teams of multi-talented, ambidextrous people – our ‘SWAT teams’ – who encircle the artist and do everything possible to help achieve their full potential.
The changes we’re making today are primarily happening in our radio and video teams. We’ll preserve our industry-leading position in those areas, while bringing on new and additional skill sets in social media, content creation, community building and audience insights. This will allow us to dial up our fan focus and help artists tell their stories in ways that resonate.
As part of this shift, I’m sorry to say about two dozen people will be leaving us from across our three labels and their imprints. We’ve already informed everyone who is impacted. I know we will all support each other, even more than usual, and I deeply appreciate your empathy and understanding.
We’ve all heard the same industry rumors about labels being reduced or merged into one another. I can tell you: this is not that. We’re deeply committed to the unique cultures across our labels, led by 300, Elektra and Atlantic. Craig, Kevin, and I passionately believe these identities are crucial to attracting great artists and building great careers. We want artists to be choiceful about the culture and team they belong with, just as we’re thoughtful about deciding which artists we’re signing.
Right now, there’s incredible music coming through from artists across the entire group. We have some of our biggest superstars returning, and some extraordinary new artists we’re building in a very real way. We’re taking the right step into the future, and I hope you’ll continue to share your ideas with senior management so we can continually improve.
Thank you.
Julie
For the second straight year, and third in the last four, the top honors in the Big Four Grammy categories were all split among different record labels, as Republic Records (Taylor Swift, album of the year for Midnights), Columbia Records (Miley Cyrus, record of the year for “Flowers”), Interscope Geffen A&M/Atlantic Records (Billie Eilish, song of the year for “What Was I Made For?”) and RCA Records (Victoria Monét, best new artist) all divvied up the major prizes.
This year, that breaks down into a split among the three major label groups, as both Universal Music Group (UMG) and Sony Music Entertainment (SME) accounted for two each, while Warner Music Group (WMG) earned one. (The discrepancy between the four categories and five label wins is because Eilish’s win for song of the year is technically split; she is a Darkroom/Interscope recording artist for UMG, but the song appeared on the Barbie soundtrack, which was released by WMG’s Atlantic Records.) In 2023, the top four was split evenly across the three majors and an independent, with Columbia (Harry Styles, album of the year for Harry’s House), Atlantic (Lizzo, record of the year for “About Damn Time”), Verve (Samara Joy, best new artist) and indie label Redwing (Bonnie Raitt, song of the year for “Just Like That”) scoring wins.
Among the Big Four and the top seven genres by U.S. market share — pop, rock, R&B, hip-hop, Latin, country and dance — RCA and Atlantic picked up the most wins, tying for five apiece, as Monét (best new artist, best R&B album) and SZA (best pop duo/group performance, best R&B song, best progressive R&B album) led the way for RCA while Eilish (song of the year for her track on the Barbie album), Fred Again… (best dance/electronic recording with Skrillex and Flowdan, best dance/electronic music album) and Paramore (best rock album, best alternative music performance) paced Atlantic. Interscope, through Eilish and a trio of awards for acclaimed group boygenius (best rock song, best rock performance and best alternative music album) landed four, while Loma Vista/Concord, off a big night for Killer Mike (best rap album, best rap song, best rap performance), racked up three.
Aside from that, honors were largely evenly divided, with no other label picking up more than two awards. Swift led Republic’s pair of wins (she also won best pop vocal album), while Cyrus led Columbia’s two (she also earned best pop solo performance); a pair of victories for Chris Stapleton (best country song and best country solo performance) landed two wins for UMG Nashville; BMG got two for best pop dance recording for Kylie Minogue’s “Padam Padam” and best country album for Lainey Wilson’s Bell Bottom Country; and UMG Latin earned best musica urbano album for Karol G’s Mañana Será Bonita and Juanes’ Vida Cotidiana, which came in a tie with Natalia Lafourcade’s De Todas Las Flores (Sony Latin) for best Latin rock or alternative album.
The rest were spread across a number of labels, including Def Jam (Coco Jones, best R&B performance), Warner Records (Zach Bryan, best country duo/group performance with Kacey Musgraves), Alamo (Lil Durk, best melodic rap performance with J. Cole), EMPIRE (PJ Morton, best traditional R&B performance with Susan Carol), Blackened (Metallica, best metal performance) Prajin/The Orchard (Peso Pluma, best Música Mexicana album), Cosmica (Gaby Moreno, best Latin pop album) and Ruben Blades Music (Ruben Blades, best tropical Latin album).
Overall, that gave Universal Music Group 11 of those victories, with indies racking up 10, Sony nine and Warner Music Group six.
On Friday (Jan. 5), the band’s fans began expressing concern online upon noticing that its website and socials had been wiped clean. As a source confirms to Billboard, the fresh start follows the expiration of the band’s 20-year contract with Atlantic Records in late December, meaning the Hayley Williams-fronted group is now a free agent. […]
Singer Jason Derulo is being sued by a woman who claims the singer sexually harassed her and then dropped her from a deal with his record label after she rebuffed his advances, according to documents filed in Los Angeles County court Thursday (Oct. 5).
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In the complaint — filed by attorney Ron Zambrano — the woman, Emaza Gibson, accuses Derulo of pressuring her to drink and have sex with him despite her persistent refusals to do so. In one bizarre claim, Gibson says the singer told her that if she wanted success in the music industry, she “would be required to partake in ‘goat skin and fish scales,’ which is a Haitian reference referring to conducting sex rituals, sacrificing a goat, goat blood and doing cocaine.’”
The complaint additionally lists as defendants Derulo’s record label, Future History; Atlantic Records, which has a joint venture with Future History; Derulo’s manager, Frank Harris; and Radio Corporation of America, dba RCA Records. It’s unclear why RCA Records is listed, as the label has never done business with Derulo or Future History.
According to the lawsuit, Derulo contacted Gibson in August 2021 stating he wanted to sign her to Future History, his new joint-venture label with Atlantic. After allegedly signing contracts with Derulo, Future History and Atlantic, Gibson states that work began on her debut album that same November, with Derulo acting “as her mentor, supervisor and agent for Atlantic and Future.”
Gibson goes on to claim that she regularly communicated with Derulo via text message to schedule recording sessions but that the singer instead “repeatedly” invited her to drinks and dinner — meetings she says she declined in an effort to keep the relationship professional. During a meeting in New York with Atlantic executives to discuss her career, Gibson claims she met another female artist who informed her that she was there because Derulo was also trying to have sex with her.
Gibson claims that after that alleged meeting, upon confronting Derulo about what the woman had said, he “immediately lost control and began aggressively hitting his arm rests screaming, ‘What does she have to do with you!? We weren’t going to tell you anything! We don’t have to tell you anything!’” Stating that she was rattled by the outburst, Gibson says she later insisted that her mother, who also served as her manager, be present at any future meetings of recording sessions with Derulo “out of concern for her own safety.” It was at that point, she claims, that Derulo stopped responding to her text messages.
The two allegedly didn’t meet again until June 2, 2022, when Gibson says she asked Derulo about the budget to pay for her recording sessions. She says Derulo snapped at her and ignored her questions but ultimately arranged for a recording session roughly a week later. Gibson says that due to traffic, she and her mother were approximately one hour late to the session, and that when they arrived, Derulo “immediately charged” and “lunged at her, causing her to step back and clutched [sic] her chest to brace herself for DERULO to physically assault her” before running to the bathroom in tears.
Gibson claims that when complaining to Harris about Derulo’s behavior, the manager defended Derulo and told her that the star “had the right to yell” at her. Derulo allegedly never responded to a follow-up text from Gibson about arranging another recording session, and on Sept. 6, 2022, she says she was informed that her “employment” with Atlantic and Future History had been terminated. She claims she then took her complaints about Derulo’s “sexually, emotionally and physically inappropriate behavior” to Atlantic executives and the label’s human resources department but that she was directed to take up her concerns with Future History. “No one has ever reached out to address” her concerns since, she claims.
Since her alleged experiences with Derulo, Gibson says she’s required medical intervention for “breakdowns, weight loss, insomnia, mood swings, hopelessness, loss of motivation…[and] feelings of betrayal and deception” and was subsequently diagnosed with post-traumatic stress disorder.
Gibson is suing for sexual harassment, failure to prevent and/or remedy harassment, retaliation, intimidation and violence, and breach of contract, among other causes of action. She’s requesting damages for unpaid wages, loss of earnings and deferred compensation; general damages for emotional distress; special damages for medical expenses; and punitive damages.
Representatives for Derulo, Harris, Atlantic and RCA Records did not respond to Billboard‘s request for comment at time of publishing.
In September 1947, Ahmet Ertegun and Herb Abramson founded Atlantic Records with a $10,000 loan from Ertegun’s dentist. In 1948, Atlantic began putting out its first releases. Seventy-five years later, Atlantic remains one of the most storied labels in American history as home through the decades to such artists as Ruth Brown, Ray Charles, Aretha Franklin, Led Zeppelin, Genesis, Stevie Nicks, Matchbox Twenty and Crosby, Stills & Nash; and, more recently, Twenty One Pilots, Bruno Mars, Ed Sheeran and Lizzo.
This year, Atlantic is paying homage to its rich heritage with a multi-pronged, year-long campaign that celebrates some of its most iconic titles. Already started is the release of 90 classic titles, many on crystal clear, colored or recycled vinyl, curated by Atlantic Records chairman/CEO and noted audiophile Craig Kallman.
Among the releases in the 75th-anniversary commemoration are John Coltrane’s Olé Coltrane, Yes’ Fragile, Dusty Springfield’s Dusty in Memphis, Phil Collins’ No Jacket Required, Hootie & the Blowfish’s Cracked Rear View and Crosby, Stills & Nash’s self-titled album. More recent titles in the collection include Mars’ 24K Magic, Gucci Mane’s Mr. Davis, Lizzo’s Cuz I Love You, Sheeran’s Divide and Gayle’s A Study in the Human Experience. All titles are for purchase through Atlantic Records’ site and a number are available through various brick-and-mortar retailers.
Kallman began working on the project, which is running in conjunction with Rhino Entertainment, a number of years ago, printing out spreadsheets highlighting every significant title of the past 75 years. “It was stacks of paper making sure we didn’t miss anybody. It was painstakingly done. There was a lot of internal debating,” he says.
His mission was to cover the “breadth and scope of Atlantic’s history by genre,” he says. “We tried to include records that were culturally significant, that were groundbreaking for the company, that were blowout sales successes. It was about records that defined the label and the culture of the company.”
Though painstaking and extremely time-consuming, Kallman says the process “was a lot of fun and brings back a lot of memories because I was here for 32 years of it.” Kallman joined Atlantic in 1991 when the company purchased his dance label, Big Beat Records, and, in many ways, he had unintentionally been preparing for this moment. When he started at Atlantic, “I thought part of my responsibility was to really know and understand the history and legacy of the company so I can’t think of any [release] I didn’t already know about, but we wrestled with making sure that the depths of the early catalog were there,” he says. “My DJ’ing background also came in handy in making the selections.” Kallman’s personal collection numbers more than 2 million LPs.
While titles started rolling out a few months ago, forthcoming releases include Coldplay’s A Head Full of Dreams (including The Chainsmokers and Coldplay’s 2017 hit, “Something Just Like This,” as a bonus track) on Oct. 20 and Led Zeppelin’s Led Zeppelin IV on Oct. 27. The collection includes a number of titles that have been out of print, like Lil Uzi Vert’s Luv is Rage 2, as well as releases that have never come out on vinyl. All releases are tagged with a 75th-anniversary logo.
Kallman tried to keep the releases to 75, but ultimately, he could only whittle it down to 90. “We’re like, ‘Oh my God, this is too tough to narrow down,’ and we figured we could err on the side of going beyond 75 titles,” he says.
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The anniversary has several other components. Atlantic has partnered with high-end audiophile label Acoustic Sounds to release 75 classic titles in 180-gram, 45RPM black vinyl and SACD versions. That offering includes such Genesis albums as Selling England by the Pound and The Lamb Lies Down on Broadway, Coltrane’s Giant Steps and My Favorite Things, Otis Redding’s The Dock of the Bay and Buffalo Springfield’s self-titled set.
Another tie-in is with vinyl subscription service Vinyl Me Please (VMP), through which Atlantic will offer several titles through VMP’s record of the month program. Five titles will be available to VMP members as November selections, including Charles’ Ray Charles in Person, Lupe Fiasco’s Food & Liquor and Stone Temple Pilots‘ No. 4. Kallman says the deal could extend beyond the initial five titles depending upon the response.
Another component is a collection of remixes, available exclusively for streaming via DSPs. Among the selections are DJ Nora En Pure’s fresh take on Donna Lewis’ “I Love You Always Forever,” DJ Spinna’s remake of Roberta Flack’s “Killing Me Softly” and Italian DJ Luca Olivotto’s version of Yes’ “Owner of a Lonely Heart.”
The anniversary also includes a coffee table book from luxury art book publisher Taschen, which is expected to come out in 2024. “That’s been a labor of love,” Kallman says. “We’re excited to have a fitting chronicle of the history of the company with extraordinary photos and great essays.”
Few things have captured the cultural zeitgeist in 2023 more than Barbie, Greta Gerwig’s film based on the classic Mattel toy that has become a $1 billion-movie since its release in July. But anyone who has seen the movie can attest that it’s more than just a comedic sendup or a feminist film lacing into cultural stereotypes of the past half-century — it’s also a deeply musical film, with songs by Lizzo, Matchbox 20 and others playing central roles in how the story plays out.
So it naturally follows that the soundtrack, with original songs by Billie Eilish, Dua Lipa, Ice Spice and Nicki Minaj, and more, would make waves as well — though perhaps few people predicted it would do this well. Three weeks after the soundtrack’s release, the album remains at No. 3 on the Billboard 200, while three of its singles — Dua’s “Dance The Night,” Eilish’s “What Was I Made For?” and Ice Spice and Nicki’s “Barbie World” — are in the top 15 of the Hot 100, and the top 10 of the Billboard Global 200. And that sustained success helps earn Atlantic Records West Coast president and Barbie soundtrack album co-producer Kevin Weaver the title of Billboard’s Executive of the Week.
The Barbie soundtrack isn’t Weaver’s first film success — he’s also been heavily involved in the soundtracks for The Greatest Showman, Suicide Squad, Daisy Jones & The Six, Birds Of Prey, Furious 7, The Fault in Our Stars and The Fate of the Furious, among others. But the Barbie film and soundtrack has captured the world’s collective attention in ways that none of those others truly have.
Here, Weaver discusses the impact of the film and its music, how Warner Music Group leveraged an all-hands-on-deck strategy to market it around the world and how the music played such a central role in the film itself. “The fact that Greta saw this film almost as a musical, and was so involved with the soundtrack, was an absolutely critical factor in how and why the music worked so well,” he says.
This week, the Barbie soundtrack spends its third week in the top five of the Billboard 200, with three of its songs in the top 15 of the Hot 100. How did this project come together, and what were the particular difficulties in pulling it off?
We had been tracking the development of the film for a few years and had frequent conversations with Warner Bros. and Mattel about partnering on the soundtrack. Once Greta and Noah [Baumbach] became attached to the project and Margot [Robbie] and Ryan [Gosling] were cast as Barbie and Ken, we aggressively started to put the pieces together. We try to start early on these types of projects, so we can actively contribute to how music shapes the project and vice versa. This was similar to when we worked on The Greatest Showman where we had a deal in place before the film was even officially greenlit by the studio.
The Barbie movie has become a cultural phenomenon. What have you guys done to market the soundtrack alongside that?
The music and our singles really helped fuel the cultural phenomenon months before the film had even opened. We were out with our singles, videos, social content, partnerships and strategy starting in late May. It felt critical to us that the soundtrack was an integral part of the overall campaign’s DNA. Our partners at Warner Bros. and Mattel really leaned into the music by incorporating it into every aspect of Barbie media and marketing in a truly unprecedented manner. The level of collaboration on this project and working with such smash records was the initial driving force behind this success.
The album didn’t just resonate in the U.S. — three of its songs are in the top 10 of the Global 200 chart, including two (Billie Eilish’s “What Was I Made For?” and Dua Lipa’s “Dance The Night”) in the top three. What did you do to help market this release beyond the U.S.?
We enlisted our entire global marketing machine at WMG in a way that I have never experienced before. Very early on, Max [Lousada] and Julie [Greenwald] deemed the album a “Superstar Level Release” where each single got our most coveted “track of the week” priority assignment. This means that every track had every possible lever pulled behind it, in every territory throughout the globe. We also had every marketing team throughout the world working hand in hand with their local counterparts at Warner Bros. and Mattel. By doing this, we unlocked every co-op marketing opportunity across all three companies, including digital partnerships, media, physical retail, in-theater and anything else you could imagine.
How have you guys been able to tap into the craze around the various merchandising tie-ins with the movie?
We have some co-op products with Mattel, plus more in the works for later this year. Mattel helped us tremendously with our vinyl and CDs at all major retailers around the world. We were also able to work together on all of their key Barbie promotions, which gave the soundtrack massive additional visibility in the marketplace.
Given how music plays such a central role in the film, how closely did you work with the film team and the movie studio on the soundtrack?
We worked in lockstep with the filmmakers, Mark Ronson, and the music supervisor, George Drakoulias. We were given the opportunity to see scenes from the film very early on while Greta was still in the beginning stages of assembling the director’s cut. This enabled us to come up with creative ideas and strategize with Greta as she was making the film. From that point on, we would all speak and text daily with bi-weekly creative calls. We constantly passed ideas back and forth, showed artists and writers scenes from the film and shared music for review as soon as a new demo or mix came in. Everyone provided feedback in real time. The fact that Greta saw this film almost as a musical, and was so involved with the soundtrack, was an absolutely critical factor in how and why the music worked so well.
You’ve worked on several huge soundtracks in the past several years, including The Greatest Showman and several Fast & Furious films. What did you learn from those that you applied to this, and how was this one different?
First and foremost, I always do what is best for the movie. You have to let the music become a character in the film with its own voice. If you super-serve the creative needs of the movie as the basis for everything, then the songs become a true extension of the film as opposed to an afterthought. With this clear directive, we work with artists who align with the overall aesthetic tone of the movie, and then hone in on hit records.
How have you been able to keep the momentum on this release going?
It’s the gift that keeps on giving. We worked intentionally early on to create our own brand with this music and have continued to market it past the film’s release just like we would with any other superstar artist. Greta made a masterpiece and now we get to continue to grow this music outside of the four walls of the film, which helps both the film and our music brand continue to flourish. We get to come up with new creative ideas every day while having fun building upon what we’ve already been able to accomplish.
Every aspect of this project has been a dream and I couldn’t be more grateful to the entire team at Atlantic, the global teams at WMG, our creative partners, Greta, Mark, George and the filmmakers, as well as our partners at Mattel and Warner Bros. Every single thing we have done here has gone against the grain and we are thankful to have had enormous support in an unprecedented capacity by all involved.
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