Record Labels
Sugar Hill Records co-founder and longtime owner Barry Poss died Tuesday, May 13 at age 79 following a battle against cancer.
Poss was born in Brantford, Ontario, Canada on Sept. 7, 1945. After graduating from Toronto’s York University, he began studying sociology at North Carolina’s Duke University in 1968, as a James B. Duke Graduate Fellow. While still a graduate student at Duke, he attended the Union Grove Fiddler’s Gathering. He also learned traditional, old-time sounds from musicians including Fred Cockerham, Tommy Jarrell and Tommy Thompson.
Poss began working for David Freeman at Rebel Records and County Records, learning about the record business and later launched Sugar Hill Records with Freeman in 1978. That same year, Sugar Hill released its initial project, One Way Track, from the group Boone Creek, which featured Terry Baucom, Steve Bryant, Jerry Douglas, Wes Golding and Ricky Skaggs. Two years later, Poss took over control of the company and relocated it to Durham, North Carolina.
Sugar Hill Records became a home and championing label to scores of bluegrass, Americana and roots artists — including Jerry Douglas, Ricky Skaggs, Nickel Creek, The Seldom Scene, Tim O’Brien, Sam Bush, Sarah Jarosz, Doyle Lawson & Quicksilver, The Infamous Stringdusters, Robert Earl Keen, Hot Rize, Lonesome River Band, Bryan Sutton, Guy Clark, The Del McCoury Band, Ronnie Bowman, Guy Clark, Rodney Crowell, Robert Earl Keen, Lyle Lovett and Townes Van Zandt.
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The label was part of 12 Grammy-winning projects, including five projects that won a Grammy for best bluegrass album, from artists including Parton, Del McCoury Band and Nashville Bluegrass Band. Parton recorded albums like 2001’s best bluegrass album-winning The Grass Is Blue and 2002’s Halos & Horns for the label.
Poss sold the label to Welk Music Group in 1998 and became its chairman in 2002. In 2015, Concord Bicycle Music acquired the label.
Beyond his work at Sugar Hill Records, Poss was instrumental in the formation of the International Bluegrass Music Association (IBMA), and served as a founding board member of the Bluegrass Music Hall of Fame and Museum. He was also honored with the IBMA’s distinguished achievement award in 1998 and won the IBMA liner notes of the year honor alongside Jay Orr in 2007 for penning the liner notes for the project Sugar Hill Records, A Retrospective. He was also honored with a lifetime achievement award from the Americana Music Association in 2006.
IBMA Executive Director Ken White says in a statement, “Barry Poss was not just a champion of roots music and the artists that make it, but he was instrumental in the founding of our organization. For that and so much more, we will always be grateful.”
California-based regional Mexican music band Fuerza Regida made history this week with the debut of their new album, 111XPANTIA, at No. 2 on the Billboard 200. It’s the highest debut ever for a Mexican artist on the chart — and, had Bad Bunny not released the vinyl edition of his Debí Tirar Más Fotos the same week, 111XPANTIA would have debuted at No. 1, making the group only the third act in history to top the chart with an album in Spanish.
As it was, 111XPANTIA made double history, as it allowed two Spanish-language albums to place at Nos. 1 and No. 2 on the chart, also a first.
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While the name Fuerza Regida may still not ring bells for many in the mainstream, the group has been making serious waves since they launched in 2018, led by singer, composer and businessman Jesus Ortiz Paz, better known as JOP.
Part of a new wave of homegrown talent that’s doing a more contemporary, urban-leaning version of regional Mexican music, or música mexicana, the quintet has positioned itself as bold disruptors, delighting in making music that defies convention, veering into genres like dance and trap. Fuerza are also known for their unusual marketing strategies, from an impromptu concert on the 210 freeway near Los Angeles to a performance alongside street musicians on the Tijuana border to pop up murals to promote their album, Pero No Te Enamores, last year.
Those kinds of actions have yielded fruit. Fuerza has won Top Duo/Group of the year at the Billboard Latin Music Awards for two consecutive years already (2023 and 2024) and has placed six albums, going back to 2023, on the Billboard 200. On the Billboard Top Latin Albums chart, they’ve placed an impressive 12 albums dating back to 2019, and including nine top 10s and one No. 1, 2023’s Pa’ Las Baby’s y Belikeada. On Hot Latin Songs, they boast two No. 1s and 12 Top 10s.
But the Billboard 200 debut is their most impressive achievement to date. Fuerza is signed to a joint venture on their own Street Mob Records with indie Rancho Humilde, and is distributed by Sony Music Latin. But behind their marketing is Jesús Amezcua (aka Moska), the group’s manager (and friend), who is also head of marketing and strategy for Street Mob Records. Although “we’re synced with Sony for data and distribution, all creative direction and frontline marketing is led by us at Street Mob,” Amezcua says. “That independence is what gives us our edge and velocity.”
For pushing Fuerza to make history on the Billboard 200, Amezcua is Billboard’s Executive of the Week.
What exactly is your role with Fuerza Regida?
I manage and lead all strategic marketing, rollout execution and brand partnerships for Fuerza Regida. That covers everything from pre-release positioning and digital strategy to street-level activations, PR and long-term brand development. I work directly with JOP and the team to ensure every campaign feels authentic to the culture while breaking through in the mainstream.
The group has had many major releases, but never something of this magnitude. What made this one different?
This album was a perfect storm of timing, vision and intentionality. We knew the fans were ready for a bigger moment — and we built the campaign with that in mind from day one. What made the difference was the shift in scale: we elevated everything, from the sound to the visuals to the media approach. It was about crossing over without losing our identity.
One major turning point was this was Fuerza Regida’s first time ever releasing a physical album. Not only did we enter that market for the first time, we broke records, surpassing legendary acts like Selena and Maná for the most physical copies sold by a Mexican artist or any Latin duo or group. That milestone sent a loud message about the group’s growing cultural weight and the power of our fan base.
Was there one single action or moment that really moved the needle?
Yes — the pre-release digital campaign combined with JOP’s hands-on promotional push. We executed teaser drops, voice-of-the-streets-style content, and surprise fan moments that went viral, like a Paris Fashion Week performance, for example. Paired with a targeted mainstream media push, it became the perfect one-two punch.
Fuerza Regida is known for bold marketing stunts. Last time it was murals. What was the centerpiece this time?
We focused on emotional proximity and regional pride. Surprise activations in key markets, custom merch drops and physical memorabilia made fans feel seen. We also planted narrative Easter eggs in visuals and lyrics to spark fan theories. It wasn’t about shock — it was about depth.
What was the goal with this album release?
To make a statement: Fuerza Regida isn’t just a top-tier música mexicana act — we’re a cultural force. Yes, we wanted the numbers, but we also wanted to redefine what this genre looks like on a global stage.
How important is it to debut at No. 2 on the Billboard 200, especially as an all-genre chart?
It’s monumental. The Billboard 200 rarely reflects regional Mexican music. To be in the top two, competing with global pop giants, proves this movement is no longer niche — it’s mainstream. It feels incredible to break records and debut as the highest-charting Mexican duo or group in Billboard 200 history. We were going up against legends — and held our ground.
What makes Fuerza Regida different from other groups in música mexicana?
They’re fearless. From raw lyrics to unfiltered visuals and fan engagement, they bring a punk-rock edge. That energy has built a ride-or-die fanbase. They’re not following the blueprint — they’re rewriting it.
JOP was everywhere during this release. How intentional was the promo run?
Very intentional. We built a full content and press calendar around JOP as a brand. National TV, local media, viral content — it was all high-volume, high-authenticity. He delivered across the board.
I see Street Mob is growing and staffing up. You recently hired Gustavo López as president, for example, and he comes with longstanding label experience.
Absolutely. This is a family effort. Our president, Gustavo López, is an industry legend who leads with integrity and vision. Our COO and Street Mob partner is Cristian Primera, aka Toro, along with Cindy Gaxiola, our head of commercial affairs. Last but not least is our CFO Luis Lopez, aka Walks. They are all relentless execution machines. Every win is a reflection of this powerhouse team. Fuerza Regida is just getting started. We’re here to shift culture, not just drop records.
In the middle of his Grammy Award-winning 2024 “Not Like Us” music video, Kendrick Lamar posts up with OG executives and artists from his former label, Top Dawg Entertainment, on the patchy lawn outside of the Nickerson Gardens housing projects in Los Angeles’ Watts neighborhood. “That moment for me was strong and powerful because here we are, still laughing, joking, like when we were these 16-, 17-year-old kids back in the day,” TDE president Anthony “Moosa” Tiffith recalls. “It feels good when you and all your brothers set out to do something, and then you see everybody succeed at exactly what we set out to do. We all come from one frat, and that’s TDE.”
Moosa, now 37, was introduced to not only this brotherhood but also the broader music business by watching rappers and other creatives including Lamar, ScHoolboy Q, Ab-Soul, Jay Rock, Derek “MixedByAli” Ali and Sounwave pull up to the recording studio, dubbed House of Pain, that his father, TDE CEO Anthony “Top Dawg” Tiffith, built in the backyard of their Carson, Calif., home in 1997. “Music has always been around my family,” he says, citing his great-uncle Michael Concepcion, who managed R&B singer Rome and produced the West Coast Rap All-Stars’ 1990 Grammy-nominated single “We’re All in the Same Gang.” Moosa clicked with ScHoolboy Q and became his road manager in 2011, then eventually “fell into” being his overall manager.
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Through the years, he stepped up at the label and his responsibilities increased. “Sometimes you’re getting prepped for something that’s much bigger than you,” he says. In 2022, Moosa was elevated to co-president alongside Terrence “Punch” Henderson and tasked with overseeing TDE’s day-to-day operations on top of managing some of its artists, such as Doechii, ScHoolboy Q, Zacari, Alemeda and in-house producer Kal Banx. “Sometimes I’m in my A&R bag, and then sometimes I’m in a creative bag where I’m overseeing a rollout,” he says.
TDE, which celebrated its 20th anniversary in 2024, remains committed to its artists’ long-term growth and creative autonomy — fostering groundbreaking output that’s often well worth the wait. In March 2024, ScHoolboy Q released Blue Lips, his first studio album in five years, to critical acclaim. And the following August, Doechii released her third mixtape, Alligator Bites Never Heal, which earned the fast-rising star a best new artist Grammy nod and her first Grammy trophy, for best rap album, while yielding two Billboard Hot 100 hits: “Denial Is a River” (which peaked at No. 21) and “Nissan Altima” (No. 73). When Doechii released the mixtape’s extended edition in March, she included “Anxiety,” which hit No. 10, becoming her highest-peaking entry on the chart.
Those achievements represent just some of the widespread recognition Doechii has quickly garnered, from being named Woman of the Year at Billboard Women in Music to winning outstanding music artist at the GLAAD Media Awards. And Moosa played a crucial role in the rise of TDE’s latest star: “This is a project I personally signed, curated, put producers around, put directors around. It feels that much more personal to me with her winning that Grammy,” he reflects. “I knew all the accolades would come, just not the timing of them.”
Moosa has been steadily developing Doechii for the last five years, since one of his young employees sent him a list of artists to check out that included her. He listened to Doechii’s dynamic, autobiographical single “Yucky Blucky Fruitcake” and found himself going down a “big rabbit hole” online that included discovering a video of her “doing choreo with two dancers next to her with probably 10 people in the club,” he remembers. “It let me know how serious she took herself. She had a vision right there, probably with no money.” While Doechii’s vision now occasionally demands the big bucks — like her high-concept 2025 Grammy performance — Moosa believes she’s worth banking on: “I got this little saying between me and my general manager, Keaton [Smith]: ‘She hasn’t missed yet.’ ”
Moosa and Doechii have a “super-collaborative and intentional working process,” he explains. He has also been inspired by the relationship between Henderson and SZA, who this year has already topped the Billboard 200 (when SOS’ deluxe LANA edition reinstated it at the top of the chart) and Hot 100 (with Lamar collaboration “Luther,” which she and the rapper performed at this year’s Super Bowl halftime show) and starred in her first feature film, the acclaimed buddy comedy One of Them Days. “These are the things that I want to build with me and Doechii, [putting] her in positions to have that same sort of impact,” he adds.
And even as TDE celebrates the successes of SZA and Doechii, Moosa remains dedicated to maintaining the storied label’s cultural impact and building up its burgeoning, boundary-pushing acts. Rapper Ray Vaughn released his debut mixtape, The Good the Bad the Dollar Menu, in April, and Alemeda’s 2024 debut EP, FK IT, showcased her indie/alt-pop sound, a departure from the label’s rap and R&B bedrock. “When you look across our roster, I try not to sign anybody that’s extremely similar to each other. I’m always looking beyond one or two genres,” Moosa says, adding that he also looks for “authenticity, discipline, work ethic and family dynamics” in new signees. “Every artist that we get, we treat them like family. It’s going to be a close-knit type of thing because that’s how we all came up.”
This story appears in the May 17, 2025, issue of Billboard.
Universal Music Group has announced the expansion of two of its most storied labels — Deutsche Grammophon and Blue Note Records — into greater China, marking a significant move to tap into the country’s rapidly growing classical and jazz music scenes.
“At UMG, we are committed to supporting the development of diverse music cultures around the world,” said Adam Granite, UMG’s executive vice president of market development. “The launch of Deutsche Grammophon China and Blue Note Records China reflects this vision in action and marks a meaningful step forward in the evolution of our multi-label operations in the market.”
Announced at an event in Shanghai this week, Deutsche Grammophon China will focus on discovering and promoting new classical talent across China, plus provide artists with access to UMG’s global resources, including recording, international promotion and touring. Chinese musicians Lang Lang, Yuja Wang and Long Yu will serve as artistic advisors, guiding the label’s artistic direction.
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DG China’s debut release, Bach: The Cello Suites by acclaimed cellist Jian Wang, is set for May 23. Additionally, DG China will collaborate with the Shanghai Symphony Orchestra to record and release the complete Shostakovich Symphonies by 2029, celebrating the orchestra’s 150th anniversary.
Dr. Clemens Trautmann, president of Deutsche Grammophon, highlighted the label’s growing presence in China over the past decade and noted that the partnership with Blue Note and the involvement of international artists underscore UMG’s global reach and creative ambition. “We are proud to co-invest in the future generation of outstanding classical performers from Greater China, together with our esteemed colleagues at UMGC to foster the success of amazing new talent across recording, touring and brand partnerships,” Trautmann said.
Stacy Yang, Timothy Xu, Dr Clemens Trautmann and Adam Granite in Shanghai.
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Blue Note Records China is set to champion original jazz talent within the country, beginning with its inaugural signing: INNOUT, an avant-garde duo known for fusing improvisation, modern jazz, and experimental soundscapes. This partnership underscores the label’s commitment to bold, boundary-defying artistry.
BNRC is also partnering with JZ Music, a key player in China’s jazz scene, to promote live performances, tours, and festivals.
Don Was, president of Blue Note Records, praised INNOUT’s visionary talent and expressed excitement about launching the label’s Chinese chapter with their music. “Xiao Jun and An Yu are two of the most talented and visionary musicians I’ve ever met,” Was said. “Their music is going to ‘blow people’s minds’ all over the world. It’s a thrill and an honor to be able to launch Blue Note Records China with their music.”
Profitability at K-pop company JYP Entertainment fell in the first quarter due to a lack of large tours and an album release schedule that favored young, developing artists. While revenue reached 140.8 billion KRW ($97 million), up 3% from the prior-year period, operating profit fell 42%. Operating margin — operating income as a percentage of […]
Sony Music reported record high operating profit and a 14% jump in revenue for its fiscal year, as revenue from subscription streaming and its live, merchandise and sync business bolstered earnings, parent company Sony Group Corp. reported Wednesday (May. 14). Sony’s music segment, which includes Sony Music Entertainment, Sony Music Entertainment Japan and Sony Music Publishing, […]
Mexican music powerhouse Fonovisa-Disa is rebranding as Fono, it was announced on Wednesday (May 14).
The new name for the regional Mexican label, which is part of Universal Music Group, comes more than 40 years after its launch. It went on to become a pioneering company at a time when música mexicana didn’t have the global spotlight it has today.
“This isn’t the end of an era, at least we don’t feel like it is,” Antonio Silva, Fono’s U.S.-Mexico MD and a towering figure at the company, tells Billboard. “This is an evolution of Fonovisa, of our team, our artists, and it is an evolution designed to expand our genre and culture. This rebranding does not make Fonovisa’s legacy disappear, we intend to make [the genre] more relevant and take it beyond where our artists have already taken it.”
Fono is home to genre giants Alejandro Fernández, Los Tigres del Norte and Banda El Recodo, to name a few of the veterans on its roster, as well as emerging acts such as Camila Fernández, Danny Felix and Majo Aguilar — a reflection of the genre’s multigenerational audience. The label’s rebranding comes at a time when regional Mexican music has grown significantly in popularity and exposure over the past few years. Still, there’s much more opportunity for growth, says Alfredo Delgadillo, president/CEO of Universal Music México.
“Mexican music is in a good place right now, but we want to see it go further,” says Delgadillo, who notes the rebranding has been in the works for over a year. “It’s important to note that while corridos are getting all the attention at this moment, the rest of the subgenres like banda, norteño, mariachi, cumbia, continue to have enormous relevance, and we don’t want that to get lost. We see a very strong opportunity. The focus on the corrido, which is very important and, coming from what Fonovisa is and what it has built, we don’t want it to end or stay there. For us, the cultural richness of the entire genre goes beyond a special moment for just one of the subgenres.”
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Fono will continue building on the legacy that Fonovisa-Disa built. Previously an indie label, Fonovisa was acquired by Universal in 2008 and became an institution in the regional Mexican music space. “We saw this as [an opportunity] to grow, to take Mexican music and all its genres to other regions and territories,” says Ana Martínez, who was appointed Fono’s U.S. GM last year. “Our vision is focused on the opportunity to take our culture to other audiences, above all in a sustainable way, helping develop something that lasts more than the isolated impact that sometimes happens.”
Adds Silva, “After so many years of working in the music industry and practically all dedicated to regional Mexican, I’ve experienced the phenomenon of Bronco, Rigo Tovar and so many more that have been a part of our history. Now, to reach this moment where the company has this vision of expanding our culture and all that we are, I’m thankful to Fono and Universal for giving us a new road to navigate the world.”
Industry executives Daniel Oakley, Darren Potuck and Cage the Elephant co-founder/guitarist Brad Shultz have partnered to form the new label Parallel Vision, it was revealed to Billboard on Wednesday (May 14). Additionally, the Nashville and Los Angeles-based label announced it has formed a joint venture with Big Loud Rock (the alternative/rock imprint of Big Loud Records) to sign its flagship artist, rock duo Girl Tones.
Composed of sisters Kenzie and Laila, Girl Tones has opened shows for Cage the Elephant in Europe and later joined The Velveteers and hey, nothing on those acts’ stateside shows. In July, the duo will join Silversun Pickups on a run of North American shows and is also slated to play festivals including Lollapalooza, Shaky Knees and Austin City Limits.
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To mark the signing, Girl Tones released its new single and video, “Blame,” on Wednesday. Described as “vintage-tinged,” the Casey Pierce-directed video was filmed at Nashville’s Dive Motel and plays up the trope of sibling rivalry.
“We’ve been friends for nearly two decades, each carving out different corners of the industry — artist, executive, creative, while also working and creating together throughout those years,” said Oakley in a statement. “Brad had spent the last several years developing and producing artists while Darren and I worked with major music and entertainment companies.”
Added Shlutz, “We were presented with a chance to have our own outlet to further develop and release the music. Parallel Vision is that avenue. It’s honestly a blessing the way it all came together. Girl Tones is the perfect first chapter. They’ve gone from local stages to global releases and touring internationally in under a year — and we’re just getting started.”
On the label’s partnership with Big Loud Rock, Potuck added, “At Parallel Vision, we’re driven by a desire to support artists who push boundaries. Partnering with Big Loud Rock gives us the infrastructure and momentum to take that vision to a much bigger audience — without compromising the art. We’re excited to build something that respects creativity while delivering at the highest level.”
Joey Moi, a Big Loud partner and president at Big Loud Rock, added, “Big Loud Rock is honored to be in partnership with the renowned team at Parallel Vision and their first signing Girl Tones. As part of our label’s mission to develop the next generation of alternative-rock artists, these strategic partnerships will be part of our core mission as we continue to build and take this company to new heights.”
Big Loud Rock is also home to artists including Blame My Youth, Bizzy and Sikarus.
Candice Watkins has been named president of Capitol Records Nashville and executive vp of Capitol Christian Music Group.
Watkins’ new role comes as Capitol Music Group brings Capitol Christian Music Group (CCMG) and its country division, Capitol Records Nashville, under the Capitol Music Group Nashville umbrella. Artists who were previously signed to Capitol Records Nashville will remain at the newly formed Music Corporation of America (MCA) Nashville label.
Capitol Christian Music Group, which includes Motown Gospel and Tamla and distribution operations, will continue to be led by its longtime president, Nashville-based Brad O’Donnell, whowill continue to report to Tom March. CCMG is home to artists including Chris Tomlin, Anne Wilson, Tasha Cobbs Leonard and Josiah Queen; it also publishes the song catalog for gospel music luminary Kirk Franklin.
Watkins previously served as senior vp of marketing at Big Loud Records, working with artists including Morgan Wallen, HARDY, ERNEST, Stephen Wilson Jr. and Hailey Whitters. Prior to her work at Big Loud, Watkins served in marketing and artist development role at UMG Nashville and held positions at Red Light Management, Mozes Inc., Borman Entertainment and Cross Point Church.
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Capitol Music Nashville is located on Martin Street in the Wedgewood Houston area of Nashville in a 40,000-square-foot space that includes state-of-the-art recording studios, a live performance space and content studios. It will have the support of the Capitol Tower in Los Angeles for all label services.
“This reorganization reflects our commitment to growing our Nashville operations as a core creative hub in Christian, gospel and country music,” said Capitol Music Group CEO Tom March in a statement. “We’re looking forward to signing and developing the next generation of country artists on Capitol Records Nashville and are thrilled to have an executive of the caliber of Candice Watkins to lead our ambitious plans in country music while also bringing her expertise to our gospel and christian music operations.”
“This new structure will empower our Nashville executives to better serve the incredible artists on our roster. Candice is a brilliant music marketing executive who has an amazing track record in developing career artists,” said John Janick, chairman of Interscope Capitol. “Having her lead our country music business in Nashville and also add her extensive artist development expertise to our CCMG team is going to be great for our artists and for the entire executive team.”
Watkins commented: “It’s a true honor to step into the role of President of Capitol Records Nashville and EVP of Capitol Christian. These labels have a rich legacy in partnering with some of the most brilliant artists of our industry and I look forward to contributing to its continued success and cultural impact. Excited to collaborate with John, Tom, Lillia and Brad in boldly championing creatives and visionaries.”
So far in 2025, the No. 1 slot on the Billboard 200 albums chart has regularly been filled with some familiar faces: SZA, Lil Baby, Bad Bunny, The Weeknd, Kendrick Lamar, Drake, Lady Gaga, Ariana Grande. So this week’s chart — with Swedish hard rock band Ghost, as shadowy and mysterious as its name implies, coming in at No. 1 with its latest album Skeletá — may seem like an anomaly to most casual music fans in the U.S.
But it’s not a surprise to Ghost’s longtime fans, nor to its label, Loma Vista. And for those paying attention to the group’s growing lore over the years, it seems like it may have been a long time coming. Since first debuting on the Billboard 200 in 2013 with Infestissumam (No. 28), the group has steadily climbed up the chart with each subsequent full-length studio album: 2015’s Meliora (No. 8) was its first top 10, followed by 2018’s Prequelle (No. 3), 2022’s Impera (No. 2) and now, Skeletá’s chart-topping debut, which marked the group’s biggest sales, streaming and equivalent album unit mark in its career so far. And with that steady growth, not to mention the big album week, Loma Vista director of marketing Todd Netter is Billboard’s Executive of the Week.
Here, Netter breaks down the band’s growing fan base, the clever marketing tactics that went into Skeletá’s rollout and what this could mean for the band, and the hard rock genre, overall. “There are a ton of decisions, small and large, that go into a successful marketing campaign,” Netter explains. “A successful album marketing campaign really is a series of interconnected decisions, tied together by strategy, creativity and execution.”
This week, Ghost landed its first-ever No. 1 album on the Billboard 200 with Skeletá. What key decisions did you make to help make that happen?
With Ghost, our goal is to always make creative decisions with clear intent at very pointed moments, like which songs to lead with and what the vehicle is for rolling those songs out and when; how to eventize the album announcement to generate maximum attention and enthusiasm amongst their large global fan base; and how to rev up that fan base going into release day. An example of such a decision was committing to creating “The Satanizer” — a first-of-its-kind music video experience for fans who wished to be “Satanized” — which was the title of Ghost’s first single, launched alongside the album announcement. “The Satanizer” morphed its users into characters featured in the song’s melodramatic music video.
With a quick upload of their photo, “The Satanizer” sent out a personalized music video clip featuring the participant, who in turn could share via social media that they too had been “Satanized.” Strategically, it was a decision to create a moment at the launch of the campaign that personalized the experience of new Ghost music while simultaneously encouraging fans to create UGC on their socials. A powerful one-two punch that drew die-hard fans in while inviting other more casual music fans to pay attention. And, most important, it was a decision to have fun with this album campaign from its very launch.
This is the band’s fourth full-length top 10 album in the past decade, with each release achieving a higher position each time. What has gone into helping them build their career to get to this point?
We at Loma Vista fundamentally believe Ghost’s music and their vibrant fan community is for everyone. They have a sound and general appeal that draws people in. So we’ve made a very concerted effort at developing their passionate and creative fan community. It’s an immersive fan experience, rewarding for the most committed of fans and welcoming to the curious. An experience rich in storyline — we call it “lore” — chock full of creative content, loaded with call-to-action drivers for the fan base, and all culminating in real-world activity for the fans to attend, be it pop-up events, concerts — aka “rituals” — or feature film cinema screenings. It’s a fan-focused experience that is constantly evolving, mysterious, fun and always centered around the music of Ghost. And this has proven great for attracting more fans, be it by word-of-mouth, or simply by being a beacon to those who feel misunderstood but are proud of their creative and unconventional points of view in terms of music and culture. Focusing on Ghost’s fan community has allowed us to expand their audience size and the impact of the band, album over album, for the last decade.
The album also made a global impact, debuting at No. 1 not just in the U.S. and in Ghost’s native Sweden, but also in countries like Australia, Germany, Belgium and Switzerland, and at No. 2 in the U.K. How did you set it up to make such a big debut worldwide?
It starts with our unwavering belief that Ghost’s music is universal. We’ve always seen our marketing campaigns for Ghost albums as worldwide endeavors. As a label, we have a global footprint with label marketing teams located in key cities across the globe including London, Berlin, Toronto, Mexico City, Sydney and Tokyo, allowing us to strategize, prep and execute globally. So any time we cook up an initiative or fan activation, we have teams positioned around the world to help us ensure the idea is executed properly in local territories, be that via social media, real-world events, or via hybrid experiences where we blend the two things.
A great recent example of that in our Skeletá album campaign were the Midnight Sales and the complimentary online album countdown event that we staged to celebrate the release of the new album. I knew we had a global fan base, one that loves to dress up and participate with other fans. I also knew Ghost’s sound and aura can harken back to previous eras of rock’n’roll, and that the album’s release was heavily anticipated by the band’s passionate fan base. We created Skeletá-Eve Midnight Sales, a series of events at 150 independent record stores around the globe, where fans could gather, listen to the album together for the first time and purchase it the minute the clock struck midnight. And for fans not near one of these many stores, we created Skeletá Rockin Eve, a global live stream event where fans tuned in at midnight locally to count down together the release of Ghost’s new album and hear new music. Coordinated timing-wise, thematically complementary, and global in scope. An example of how our strategy and execution allow us to cultivate a global fan base and have a major impact with Ghost’s music around the world.
Ghost has a very particular aesthetic and look. How did the marketing campaign for this album differ from prior releases, and from other acts on the label?
Ghost are the most unique-looking band in music. They stand out, and the way they look is an instant attention-grabber for any onlooker. But it’s not just sensational — their appearance has a very strong creative point of view and a sophisticated design intent. They challenge norms and push boundaries in terms of rock’n’roll presentation, and music fans gravitate toward that.
That said, I’m not sure our approach on this album cycle differed so much as it evolved. Their photos, wardrobe, stage design and overall aesthetic continue to elevate, album over album, and so our marketing campaigns aim to match that elevation. We look at every visual facet of our marketing campaign, be it vinyl jacket materials, music videos, band photos, band store merch, social media platforms, magazine covers, out-of-home billboards, etc., as an opportunity to establish Ghost’s creative point of view, to leave a meaningful impression on their fans and the public in general. As the band’s growing popularity collides with loftier opportunities coming their way, it enhances our ability to enrich the band’s overall aesthetic, music presentation and visual world. Our marketing campaigns have always been heavily integrated with the band’s aesthetic, so it was an evolution on Skeletá, not a different approach.
The album represented Ghost’s biggest sales week ever, but also its biggest streaming week ever. How did you balance each to get such a big debut?
The easiest explanation is the band’s audience grew a ton. Following a very successful IMPERA album campaign, viral TikTok moment for “Mary On A Cross,” and a No. 1 feature film, Rite Here Rite Now, the band simply had a lot more fans. That said, the Ghost fan base is not a monolith, nor is the music consumption landscape these days. I knew we needed a comprehensive plan to tackle all the different ways people listen and consume music these days, to best understand what motivates people to listen and how they choose to do so.
We had specific marketing plans for each streaming service, with specific platform targets and goals so that we could best position the band and their music. We took a similar approach with physical formats, creating 30 vinyl formats worldwide, as well as multiple CD and cassette formats, working with specific retailers from independent record stores to big box stores to boutique online retailers. The final component was creating a really rich and rewarding experience on the band’s webstore, offering special formats and early access to drive home the connection between the band and their fans. The music consumption landscape is fractured these days. We understood we’d never be able to funnel fans to one place, so instead we dug in and really catered to every platform and retailer’s strengths and customer base, to reach Ghost fans where they were.
This is also the first time in four years that a hard rock album has reached No. 1 on the Billboard 200, since AC/DC’s Power Up in 2020. What is the significance of that for the genre, and what can you take away from that?
I’m a little hesitant to wax poetic about knowing exactly what Ghost’s accomplishment can mean for a whole genre of music. Nor do I think of Ghost as simply a rock band. I do think their music, presentation and overall appeal transcend genre — they’re simply Ghost in my mind. But so far as I can offer a little professional and personal insight into what this means for hard rock, it never hurts when a band achieves something big like this for other bands in their genre. It shines a light on a sound and puts the genre in the zeitgeist alongside arguably more popular genres and artists. The spotlight should open doors for other bands and labels looking for opportunities, as it’s “proof,” in an industry validation sort of way, that the sound and genre have some cultural cachet.
I think with real people, average music fans and listeners, genres are becoming less and less important. Most people’s tastes bounce all over the place and artists are constantly crossing genres and audiences. More anecdotally speaking, and where my optimistic side takes over, maybe Ghost hitting No. 1 on the album charts inspires some young kids to pick up a guitar or learn to play the drums, instead of opening up a laptop, and a whole new generation of bands are formed.
This is Loma Vista’s first-ever No. 1 album on the Billboard 200. What does that mean for the label?
It’s terrific! We made a promise to our roster of artists that we’d match their vision and aspirations for their music and their careers. And this might sound cliche, but this team of people wakes up every morning with that artist commitment front of mind. None of us are personally motivated by accolades or awards. Instead, Ghost debuting at No. 1 drives home what we believe as a label: that with great music, strong creative vision, a commitment to collaboration, hard work, and an unwavering belief that anything is possible, special things will happen. A No. 1 album on the Billboard 200 reinforces that we’re right about the philosophy we take when signing and working with artists. And if I’m honest, it’s also just a really fun week for a record label when one of their artists goes No. 1.