State Champ Radio Atlantic Records
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YoungBoy Never Broke Again is headed to Motown, sources familiar with the situation tell Billboard.
Headed from Warner Music Group’s Atlantic Records — where he released four official studio albums and many more mixtapes — YoungBoy will begin releasing music on the Universal Music Group-owned Motown in 2023.
Youngboy’s already been working with Motown since last year, when he signed a global joint venture deal with the label and his Never Broke Again collective. Together, they have released two compilations — Never Broke Again: The Compilation Volume 1 (2021) and Green Flag Activity (2022) — and Oct. 28 will release their third, Nightmare on 38th Street, led by the single “Searching” featuring Ten last Friday.
The Baton Rouge, Louisiana, native Youngboy broke out in 2015 and signed to Atlantic two years later, going on to become one of music’s top acts. Since, he’s charted 24 albums on the Billboard 200 — 11 that were top 10, four of those No. 1. He’s been incredibly prolific, as those 24 charting titles have all hit the chart in just over five years (since Aug. 2017).
This year alone, Youngboy has debuted six projects on the chart — five solo endeavors and one collaborative set with DaBaby (Better Than You). He’s charted four top 10 albums on the Billboard 200 in 2022 — more top 10s than any other act this year — and has released four albums in about the past two months: The Last Slimeto, Realer 2, 3800 Degrees and Ma I Got a Family.
Youngboy’s catalog of albums, in total, have earned 16.75 million equivalent album units, according to Luminate. His catalog of songs have tallied 29.04 billion on-demand official streams in the U.S.
Punk icon Iggy Pop has signed with Atlantic Records, in partnership with producer Andrew Watt‘s Gold Tooth Records, for the release of his next album, the companies tell Billboard.
“I’m the guy with no shirt who rocks,” said Pop in statement. “Andrew and Gold Tooth get that, and we made a record together the old-fashioned way. The players are guys I’ve known since they were kids and the music will beat the s— out of you. Have a great day.”
The first release from Pop’s forthcoming album, debut single “Frenzy,” is slated to drop on Oct. 28. The album is Pop’s first since 2019’s Free, released by Caroline International/Loma Vista.
“We’re incredibly excited to welcome Andrew and Gold Tooth into the Atlantic family,” said Atlantic Records chairman and CEO Craig Kallman. “As a brilliant producer and stellar musician, Andrew has the gift of elevating every project into a work of art. And, of course, we’re over the moon to have the legendary and phenomenal Iggy Pop as our first joint signing. Iggy’s groundbreaking work forever changed the rock landscape, and he continues to make boundary-crashing music. This also marks his return to the Warner family, more than 50 years after he made his recording debut with the Stooges on our sister label Elektra. Iggy’s never stopped evolving, and he’s made a fantastic album that we can’t wait for the world to hear.”
Added Watt, “Iggy Pop is a f—ing icon. A true original. The guy invented the stage dive…I still can’t believe he let me make a record with him. I am honored. It doesn’t get cooler. This album was created to be played as loud as your stereo will go…turn it up and hold on…”
Pop rose to fame as the lead singer of Detroit-bred band The Stooges, which released three seminal proto-punk albums in the late 1960s and early 1970s: The Stooges, Fun House and Raw Power. After parting ways for over three decades, the group re-formed and released two additional albums: 2007’s The Weirdness and 2013’s Ready to Die. As a solo artist, Pop has released a total of 19 albums, including classics like The Idiot and Lust for Life, both produced by David Bowie.
Atlantic Records nailed it when they promoted Brandon Davis and Jeff Levin in tandem a couple years ago, so naturally they’re doing it again. The star A&R execs have been upped to executive vice presidents and co-heads of pop A&R at the Warner Music imprint, with both Los Angelenos — and now-former senior vps — reporting to the president of A&R, Pete Ganbarg.
“Our mission has always been to attract, sign, and nurture the greatest talent across every genre,” commented Atlantic Records chairman & CEO Craig Kallman. “Brandon and Jeff are our pop A&R stars, bringing us a string of game-changing artists. They’ve got spot-on musical instincts, combined with the insight and ability to nurture artists at every stage of their careers.”
Davis has been with Atlantic for 11 years, having joined the company as an assistant in the A&R department. In partnership with producer Ricky Reed, he helped sign and develop Lizzo at the label in 2015 and also worked on the bestselling soundtrack for The Greatest Showman, and recently co-A&R’d Charli XCX’s album, Crash, and Ava Max’s forthcoming sophomore album.
Levin, meanwhile, joined Atlantic in 2010 and has signed Melanie Martinez, Jaymes Young and Oliver Tree, among others. He A&R’d Ben Platt’s debut album Sing To Me Instead and Charlie Puth’s third album, Charlie, and has worked with Warner Chappell Music to A&R G-Eazy and Bebe Rexha’s hit single “Me, Myself & I” and sign Logic to a global publishing deal.
“At Atlantic, we pride ourselves as much in executive development as we do in artist development,” noted Ganbarg. “Both Brandon and Jeff have worked at Atlantic their entire professional lives, rising from entry level intern and assistant positions to become an integral part of the leadership of our A&R team.”
Earlier this year, Davis spoke with Billboard about his success with Lizzo and the changes in the industry — such as the TikTokification of artist promo — since the release of her first album.
“The marriage of A&R and marketing has become closer than ever before,” he said. “As an A&R executive, I now need to think like a marketing and digital executive. I have spent more time than ever before working hand-in-hand with our marketing staff, and also letting them into the record making process earlier. A&R in the current environment has become about so much more than just music and record making — you need to be entrepreneurial and have a sophisticated understanding of many different verticals.”
Over the past several years, Burna Boy has grown into a legitimate international star, with each of his last three albums achieving higher and higher slots on the Billboard 200 and his 2021 album, Twice As Tall, winning a Grammy for best global music album. And as his music has grown in popularity in the U.S., he’s been able to reach new milestones like selling out Madison Square Garden, which he did earlier this year. But one aspect of stardom had until recently eluded him: U.S. radio airplay.
That has changed over the past few weeks, as his single “Last Last” from his latest album Love, Damini has begun climbing the Billboard radio charts. And this week, it has finally crowned one of them, having reached No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart, a testament to the work put in by his label Atlantic Records. And it helps earn Atlantic’s executive vp of black music promotion Kevin Holiday the title of Billboard’s Executive of the Week.
Here, Holiday explains the strategy that brought a song that was originally released in May to the top of the airplay charts in October. “Radio is a long game, and it takes time for records to organically connect with an audience,” he says.
This week, Burna Boy’s “Last Last” hit No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart. What key decision did you make to help make that happen?
The key decision was to ask urban radio to collectively move in one direction at the same time. Another crucial decision was making sure we highlighted all the latest and greatest information on Burna Boy the week prior to achieving the No. 1. These decisions put us in position to attain our goal.
The song has not just reached the top of that chart, but it’s also climbing the all-format Radio Songs chart, reaching a new peak of No. 24 this week. How are you expanding its airplay audience?
The regions with the highest populations aid the growth in audience airplay. With that said, we are expanding Burna’s airplay audience by targeting the major markets, in hopes they play the record more.
The song has been out for five months now, since first being released in May. Why is it climbing and peaking at radio now?
It takes some time to get folks on the same page and increase airplay. Radio is a long game, and it takes time for records to organically connect with an audience.
Last year, Wizkid‘s “Essence” broke through on U.S. radio, opening up a lane for music by African artists that hadn’t really existed before. How has that changed what’s possible for Burna at radio?
Wizkid helped reshape the sound of traditional U.S. radio from just playing American hip-hop and R&B records. Burna Boy’s music has a grassroots structure of R&B mixed with a “feel good” vibe, which doesn’t completely break the boundaries of the music played within the formats. Ultimately, the possibilities are endless for Burna Boy.
Recently, we’ve seen songs make inroads at pop radio with a pop artist remix. Is that something you guys are exploring? What could that do for a song like “Last Last”?
Although “Last Last” is perfect as is, a pop remix can give a different twist and widen the audience. As of now, I believe there are no plans for such a remix… But never say never!
How can success at radio like this help boost Burna Boy’s career moving forward?
As U.S. radio continues to create global superstars, the sky is the limit for Burna Boy and his future endeavors. We are just getting started!
