Record Labels
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In recent years, the Grammys have served up several decisive sweeps (and head scratching omissions) that have dominated the conversation and led to some record labels celebrating huge wins in the Big Four categories of record of the year, song of the year, album of the year and best new artist. Within the past decade, Interscope Records emerged victorious in all four categories when Billie Eilish swept the top honors in 2020, while Atlantic’s Bruno Mars took three of the four in 2018, Columbia’s Adele did the same in 2017 and Capitol, through Beck (AOTY) and Sam Smith (BNA, ROTY and SOTY), swept them all in 2015.
What makes the full Big Four sweep particularly difficult is the best new artist aspect, in that rarely does an artist make such an impact with their initial breakthrough that they can win, or even get nominated in, the record, song and album of the year categories. It’s not unheard of — Eilish, Smith, Lizzo, Olivia Rodrigo, Amy Winehouse and Norah Jones have all been nominated in the Big Four categories in a single year this century, with Eilish and Jones sweeping the wins — but it’s not exactly common, either.
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Which makes this year particularly notable: Both Sabrina Carpenter and Chappell Roan received nominations in each of the Big Four categories for the 2025 Grammy Awards, marking just the second time that two artists have achieved that in the same year. (Eilish and Lizzo both received them in 2020.) Even more, they’re both signed to Island Records, a historic achievement for a historic label.
With those eight nods — for Roan’s “Good Luck, Babe!” (record and song); Roan’s The Rise & Fall of a Midwest Princess (album); Carpenter’s Short N Sweet (album); Carpenter’s “Please Please Please” (song); Carpenter’s “Espresso” (record); and BNA for both — Island leads all labels in Big Four nominations, a huge moment for a label that had not been at that table at all in years.
Following Island is Interscope, which racked up seven Big Four nominations through a combination of Kendrick Lamar (record and song for “Not Like Us”), Billie Eilish (record and song for “Birds of a Feather,” album for Hit Me Hard And Soft), Jacob Collier (Interscope distributes his Hajanga label, which put out his album of the year-nominated Djesse Vol. 4), and Bruno Mars and Lady Gaga’s “Die With a Smile” (song), which came out on Interscope (Mars’ label Atlantic did play a role, but Interscope is the credited label).
Beyond Island and Interscope, many of the rest of the nominations were spread out among several labels. Receiving three nods apiece were Republic (album, record and song for Taylor Swift’s The Tortured Poets Department and “Fortnite”) and Columbia (album, record and song for Beyoncé’s COWBOY CARTER and “TEXAS HOLD ‘EM”). Elsewhere, EMPIRE (best new artist for Shaboozey and song for Shaboozey’s “A Bar Song (Tipsy)”) received two, as did Warner (best new artist for both Benson Boone and Teddy Swims), Atlantic (album for Charli XCX’s BRAT and record for Charli’s “360”) and Capitol (best new artist for Doechii and record of the year for the Beatles’ AI-assisted “Now and Then”). Lastly, Epic (album for Andre 3000’s New Blue Sun), dead oceans (best new artist for Khruangbin) and Human Re Sources (best new artist for RAYE) all received one nomination each.
Among the label groups, that means that the Universal Music Group — home to Island, Interscope, Republic and Capitol — racked up 20 of those Big Four nominations, far and away leading the sector. (Given UMG’s recent reorganization, the REPUBLIC Corps Collective claimed 11 nominations, while the Interscope Capitol Labels Group had nine.) Finally, Sony Music had five, Warner Music landed four, while the indie sector claimed three.
WK Records has appointed Azucena “Azu” Olvera as GM, the company tells Billboard. According to the label, which was founded in 2020 by executive Walter Kolm, Olvera will leverage her “extensive expertise in talent relations, A&R, global marketing and strategic partnerships to further WK Records’ mission of cultivating groundbreaking music and elevating Latin artists on […]
Alana Dolgin has joined Atlantic Music Group as the label’s first president of digital marketing, a position created to drive digital strategies across the labels within the company, including Atlantic Records, 300 Entertainment and 10K Projects. Dolgin, who is based in AMG’s Los Angeles office, reports to chief operating officer Zach Friedman and general manager […]
Spinnin’ Records president Roger de Graaf is retiring, a representative for the label has confirmed to Billboard. De Graaf co-founded the Dutch label in 1999 alongside Eelko van Kooten, maneuvering it through several eras of electronic music and quickly evolving consumption models, from CDs to DSPs. “In the beginning, we wanted to become the No. […]
The music business is getting back to basics.
In a few short years, the major labels have gone from investing in and partnering with speculative tech startups to pouring money into regionally focused music companies across Asia, Africa and Latin America. After a brief flirtation with NFTs and live-streaming businesses, anything resembling a faddish technology seems to be out of favor, judging from the deals and partnerships they’ve been making lately. Instead, the majors are targeting old-school music companies that own catalogs and develop artists — and can benefit from the majors’ global network of distribution and other services.
In 2024 alone, the three majors — Universal Music Group, Sony Music Entertainment and Warner Music Group — have acquired or invested in 11 record labels, music catalogs and service providers in small or developing markets. The flurry of deals — there were even more in 2023 and preceding years — provides the majors with more content for their ever-increasing distribution pipeline and more international artists to take to Western markets.
Take UMG’s run of acquisitions and investments in 2024: the remaining stake of European indie label group [PIAS], the remaining stake in the catalog of Thai music company RS Group, a majority stake in Nigerian record label Mavin Global and the outright acquisition of Outdustry, a multi-faceted company with an artist- and label-services arm that focuses on China, India and other high-growth emerging markets. Outdustry will be a division of Virgin Music Group, UMG’s fast-growing distribution and artist services company that includes distributor Ingrooves Music Group and Integral, formerly the artist services division of [PIAS].
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UMG, in particular, is letting the world know about its intentions. On Thursday (Oct. 31), UMG CEO Lucian Grainge dedicated much of his earnings call opening statements to the company’s efforts to expand into potentially lucrative markets that merited little attention before legal streaming services replaced digital piracy. UMG plans to make “several other investments” before the end of the year, CFO Boyd Muir said during the earnings call. In total, he said, investment spending in the second half of the year will be 350 million to 400 million euros ($380 million to $434 million).
The focus on emerging markets and artist services is a noticeable change from a few years ago. When NFT prices soared and fans were stuck at home during the pandemic, the majors invested in blockchain, virtual reality and live-streaming startups. Today, as the majors face slowing streaming growth in mature markets and the needs of an increasing number of independent artists, they’re focused on building a global network of service providers with an eye on up-and-coming markets.
The focus on emerging markets goes beyond acquisitions. In September, UMG launched a new company, Universal Music Group Greater Bay Area, that will be based in Shenzhen, making “the first time a major music company has established a division in China’s Greater Bay Area, the world’s most populous urban area,” the company said.
Another development mentioned on UMG’s earnings call was GTS, a global talent services business in Latin America. In October, GTS became a standalone company separate from UMG’s record labels. “By separating from our local labels,” Grainge explained, “GTS will now be able to also offer its services to artists outside of the UMG family.”
Grainge and Muir painted a picture of a global business determined to expand outside of the mature markets they know best and build a presence in high-growth ones. UMG’s competitors — including independent Believe — are doing the same.
WMG has also had a busy year investing in traditional music companies. In March, WMG purchased a stake in India’s Global Music Junction (India’s The Economic Times reported it was a 26% stake) and launched Warner Music South Asia in April. Last year, the company took a majority stake in Divo, an Indian digital media and music company. Earlier this week, CEO Robert Kyncl told The Economic Times that China and India are the company’s top markets for expansion. “We’re already doing great in India, but it can be a much bigger part of our story,” Kyncl told the paper.
The majors continue to buy catalogs, of course. This year, Sony Music purchased Pink Floyd’s recorded music catalog (in addition to merchandising and name and likeness rights) and UMG bought a minority stake in Chord Music Partners, which holds the rights to over 60,000 songs. Expensive song catalogs give the majors rights to assets with long, productive lives. But given the enormous size of these companies, artist catalog acquisitions barely move the revenue needle. A legendary artist’s catalog might cost $200 million but generate a steady $10 million a year — a healthy sum but a pittance to a company with annual sales exceeding $12 billion.
Rather than pour money into just catalogs, the majors are buying entire companies and building new businesses with growth potential. As Morgan Stanley analysts wrote in an investor note about UMG on Thursday (Oct. 31), earlier acquisitions have had “a negligible effect on revenue and a small impact on profit growth.” But in the future, they are likely to be a more important driver of revenue growth, and Morgan Stanley expects UMG’s financial reports will break out their impact (e.g. reported revenue vs. organic revenue).
In buying regional music companies and building artist-services business, the majors are also taking a defensive measure. Independents such as Believe have been investing in local markets for years. In 2024 alone, Believe purchased the remaining stake in Turkish record label DMC and acquired Indian label White Hill Music’s music catalog and YouTube channel. Independent distributors such as UnitedMasters, Stem, Symphonic Distribution and Create Music Group have given artists a viable alternative to major label-owned systems. The majors are simply changing along with the market.
In 2012, UMG acquired the recorded music assets of EMI Music and later sold some pieces to WMG to satisfy antitrust regulators. Opposition to greater consolidation in the U.S. and Europe means it was probably the last acquisition of its size in those regions. (WMG’s brief flirtation with buying Believe in April and May quickly drew opposition from French indie labels.) There’s less opposition to more gradual growth taking place elsewhere in the world, though. The majors are continuing to expand, but they’re taking many small steps, not single EMI-sized leaps — and they’re doing it through old-fashioned music businesses.
This week, one of hip-hop’s rising stars hit a new milestone in his career: With the release of his latest album, LYFESTYLE, Yeat landed his first-ever No. 1 on the Billboard 200 with 89,000 equivalent album units, following up on the No. 2 debut of his last album, 2093, back in February.
It’s a big achievement for Yeat, who has seen his career steadily project upward, reaching the top 10 of the Billboard 200 with each of the five albums he’s released since he began working with Field Trip Recordings in 2022. This one also came with another big milestone: In its first week, LYFESTYLE, released in conjunction with Capitol, sold 60,000 units, outstripping the entire sales volume of his prior catalog to date so far (35,000) due to a combination of vinyl albums, his first-ever CD release and exclusive songs on various digital variants. And the success of the album earns Field Trip founder/CEO Zack Bia the title of Billboard’s Executive of the Week.
Here, Bia — who has also served as Drake’s tour DJ for the past two years — discusses Yeat’s commercial glow-up since they began working together, what sets this project apart and why they leaned into a sales strategy for the first time with this new album. “Ultimately, it will actually just be the next stepping stone of an achievement that allows us to jump into even bigger live show experiences and wide-reaching ventures outside of just the music,” Bia says.
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This week, Yeat scored his first career No. 1 album on the Billboard 200 with LYFESTYLE. What key decisions did you make to help make that happen?
My main role is always just to help bring his vision to life. Making sure that all the elements between the music, the visuals, the live show and the world-building as a whole are synergetic. Creating unique eras for each project that his fans can bask in.
Over the course of his career, each of his albums has debuted higher than the previous one, with February’s release 2093 coming in at No. 2 prior to this new chart-topper. How have you worked to build his career steadily through the years?
The goal is always to elevate with every album. Learn from previous rollouts and apply and adjust to the next one. He’s so prolific and puts out music at such a high velocity it’s just about continuing to go bigger with every release but in a way that stays true to the core audience. Our goal has always been to just add to the burning core fan base and with every release this group just gets bigger and stronger.
What sets this project apart from the rest of Yeat’s catalog, and how does it help you build from here?
This project I think comes at a time where after a meteoric rise he finally decided to lean back into the “lifestyle.” Reaping the rewards of his hard work, and I think the fun he’s having translates into the music. This project is braggadocious and polished and sets him apart and into a next category after reaching No. 1. Ultimately, it will actually just be the next stepping stone of an achievement that allows us to jump into even bigger live show experiences and wide-reaching ventures outside of just the music.
With 60,000 units, this week was Yeat’s biggest sales week of his career and outsold the entirety of the rest of his catalog to date. What was your approach to the sales aspect of this? And why go down the CD road for the first time?
I think the demand was always there, we just didn’t always cater to it. We are so precious with the music oftentimes we didn’t even have the time to make physical product on such short timelines. After putting out a massive project top of the year, there wasn’t a rush necessarily to force this one out. We could finally take our time to build product around it and lean into giving people actual things to collect: large-format vinyl to listen to and hang in their collection, or collaborative merch with designers he’s admired. Also rewarding people for buying into it, exclusive songs and different offerings that only were available to people who really paid attention and wanted to collect them.
What is your approach to digital marketing? And how have you been able to leverage TikTok for Yeat’s singles?
Yeat is so prolific in music making but is reclusive as a human in general. The rest of the internet can do the documenting and interacting for him. We never try to spark anything on TikTok out of the blue; all we can do is let the people pick. It’s very democratic in that sense, whatever song they champion then we can go lean into [it] and try to spread it wider.
How has the music industry evolved over the course of your career?
To echo the answer from the previous question, I believe that every era of social media has been intrinsically tied to the popular music of that era. Whether the music blew up on the platform of that time or it was big culturally and then translated back to that platform. I think in my time we’ve seen the most digitally-native fandoms yet, so learning to balance both living online but then translating it to live experiences and vice versa, real-life moments that then live online. I think in a time of virality we’ve swam the opposite way and tried to just stay true to chipping away piece by piece at growing something. But granted, this is the time of the quickest evolution in music history. When else has it been possible to make a song on your phone, upload it that night, and go viral the next day?
I would like to thank everyone on our team that works tirelessly and selflessly towards this common goal of uplifting a truly amazing artist. I know this is just a little small recognition that I received but I appreciate it and want to share my gratitude to everyone on our internal team and to [Capitol chairman/CEO] Tom March and the entire Capitol Records family. Also, new BNYX music soon.
From Oct. 4-6, the girl group 2NE1 held a concert at the Olympic Hall in Songpa-gu, Seoul — marking their first concert in nearly a decade. In attendance were YG Entertainment’s executive producer, Yang Hyun-suk, who launched the group, along with BIGBANG‘s G-Dragon, Daesung, BLACKPINK‘s Jennie, and the company’s former members Gummy and SE7EN. YG Entertainment’s newest girl group, BabyMonster, also performed a tribute to 2NE1, showcasing YG’s past, present and future all in one place. It felt like a reunion for the so-called ‘YG Family,’ who once dominated the K-pop market.
Exactly 10 years ago, in 2014, YG Entertainment was the leading force in the K-pop industry, surpassing SM and JYP Entertainment in market capitalization. However, today, YG has diminished in size compared to HYBE, SM and JYP. The company is particularly lacking in what the industry calls “killer content.” Compared to its competitors, YG has been slower to discover and nurture new talent. As 2NE1’s reunion brings YG back into the spotlight, one can’t help but wonder: will the good old ‘YG Family’ days ever return?
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The Beginnings of Major K-Hip-Hop
Producer Yang Hyun-suk was a member of Seo Taiji and Boys, often referred to as Korea’s “cultural presidents.” In 1996, he sowed the seeds of YG under the name Hyun Planning, launching groups like Jinusean and 1TYM, establishing the company as a hip-hop label. The company later changed its name to Yang Gun Planning, releasing the album YG FAMILY in 1999, and officially adopting the YG Entertainment name in 2001. In its early days, the company focused on vocalists, achieving success with artists like Gummy, Wheesung, and the four-member female vocal group Big Mama. YG Entertainment also launched several solo artists, including SE7EN and Lexy.
YG Entertainment’s journey as a K-pop management company began in 2006 with the launch of BIGBANG. Unlike previous K-pop groups, which were often seen as “projected idols” reliant on company production, BIGBANG differentiated itself by enhancing its production capabilities, with leader G-Dragon contributing to lyrics, compositions and arrangements. Before BTS emerged, BIGBANG’s popularity was so immense that it was referred to as the “BIGBANG era.” In 2009, the hip-hop-based girl group 2NE1 debuted, further solidifying YG’s status as a powerhouse in the industry.
Solo artist PSY joined the company in 2010, and his 2012 hit “Gangnam Style” peaked at No. 2 on the Billboard Hot 100. In 2014, 2NE1 became the first K-pop group to enter the Billboard 200, reaching No. 61. YG was the first K-music company to prove that K-pop could succeed on the Billboard charts.
This period marked a golden era for the YG Family. WINNER debuted in 2014, followed by iKON in 2015 and BLACKPINK in 2016. BLACKPINK broke records, becoming the first Asian female group to top both the U.S. and U.K. charts and the first female artist in the world to hold the No. 1 and No. 2 spots on the U.S. Billboard Global 200.
The Rise of BLACKPINK and the Fall of YG
In 2019, YG Entertainment faced significant challenges, beginning with the so-called “Burning Sun scandal.” A series of violent crimes, including assault, prostitution and drug-related incidents, occurred at Burning Sun, a club operated by former BIGBANG member Seungri. BIGBANG’s activities were suspended, and iKON ultimately disbanded after one member was implicated in a drug case. The fallout reached Yang Hyun-suk, forcing him to resign from all positions, and resulted in the company’s stock price plummeting.
During this turbulent time, YG Entertainment had managed to stay afloat thanks to BLACKPINK’s popularity. In 2023, they held the largest world tour ever for a K-pop girl group, BORN PINK, which attracted over 1.8 million fans. BLACKPINK also became the first Asian artist to headline the Coachella Festival in the U.S. and Hyde Park in the U.K.
But YG encountered obstacles in re-signing BLACKPINK. The members’ seven-year contracts with the company had expired, and while YG attempted to re-sign each of them individually, they struggled to retain members whose market value had skyrocketed. Four members have since started their own companies and are pursuing solo careers with different labels. (Jennie has partnered with Columbia on solo projects; Rosé with Atlantic; and LISA with RCA; Jisoo has not announced a label affiliation.) To continue as BLACKPINK, they will need to negotiate with YG.
The void left by BLACKPINK is substantial for YG. The company’s market capitalization, which soared to around $1.1 billion after BLACKPINK’s world tour, has since been halved to approximately $515 million, widening the gap between YG and its competitors HYBE, SM and JYP.
Will the YG Family Ever Smile Again?
YG Entertainment’s most pressing crisis is the slow growth of its fourth-generation boy and girl groups. TREASURE, which debuted in 2020, is gaining popularity but has yet to achieve the same level of success as SM’s NCT, JYP’s Stray Kids, or HYBE’s TOMORROW X TOGETHER and ENHYPEN. It’s difficult to consider them successors to BIGBANG.
BabyMonster, introduced in November last year to fill BLACKPINK’s void, has struggled to generate the initial buzz that BLACKPINK received. The absence of core member Ahyeon from the debut album was unfortunate, but she has since rejoined the group. BabyMonster’s first full-length album, set for release in November, is anticipated as a measure of their growth potential. The title track, “DRIP,” features G-Dragon as the composer, marking a significant gamble. Yang Hyun-suk expressed confidence, stating, “It’s a song that makes you want to dance, regardless of your age or gender. Please look forward to BabyMonster’s passionate performance.”
While finding a new group is essential, YG Entertainment’s challenge also lies in identifying a suitable successor to renowned songwriter and producer, Teddy. As the producer behind BLACKPINK’s success and a defining figure at YG, Teddy has since started his own independent label, THEBLACKLABEL, where he launched the girl group MEOVV. Consequently, Teddy, who played a pivotal role in BLACKPINK’s rise, has become a significant competitor for BabyMonster. To address this challenge, YG Entertainment is expected to bring in several high-profile producers for BabyMonster’s first full-length album, in addition to G-Dragon, who remains their “trump card.”
They must also acknowledge that hip-hop and soul music is no longer their exclusive domain in K-pop. In the days of BIGBANG, YG Entertainment was synonymous with major hip-hop and soul music in South Korea. However, with BTS taking the world by storm as hip-hop idols, as well as Stray Kids also embracing the genre, the landscape has shifted. BabyMonster should strive to avoid being seen as a pseudo-BLACKPINK. The market is now dominated by girl groups such as (G)I-DLE, LE SSERAFIM and aespa, all of which embody the “girl crush” image. BabyMonster will need to carve out its own identity to compete effectively, including facing off against MEOVV.
However, the outlook is not entirely bleak. Next year, BLACKPINK is expected to resume their “full team” activities under YG Entertainment, marking the return of the “K-Pop Queens.” As their global fan base eagerly anticipates BLACKPINK’s reunion, interest in YG Entertainment is also likely to grow.
According to the 2025 roadmap presented by Yang Hyun-suk, a number of YG Family artists will be active next year. In addition to BabyMonster, TREASURE is preparing a new album, and WINNER will be reactivated once Mino and Kang Seung-yoon are discharged from military service later this year. 2NE1, currently embarking on an Asian tour, will also release a new album next year, while AKMU, YG’s signature act which debuted in 2014, is coordinating the timing of their comeback.
The most encouraging news is that a new rookie group is in the works. Yang stated, “The tentative title ‘NEXT MONSTER’ is being developed,” adding, “We will definitely introduce a rookie group next year. Given that BabyMonster is in its first year of debut, the prospect of a boy group is very likely. If this occurs, it will mark the first new boy group in five years since TREASURE.” In other words, 2025 is anticipated to be a pivotal year for YG Entertainment, determining its direction for the next decade. If it rebounds, the company could once again become one of the “Big Four” K-pop labels.
YG PLUS, a subsidiary of YG Entertainment that holds the top distribution share in the Korean album market, is also showing signs of recovery. While its parent company focuses on artists and content, YG PLUS specializes in entertainment infrastructure and intellectual property (IP) businesses. Due to their different business models, even if YG Entertainment faces difficulties, YG PLUS can improve its profits if the albums of other K-pop companies it distributes perform well. This indicates that YG Entertainment is expanding its platform business alongside its primary focus on producing K-pop groups.
This story is part of a series produced in partnership with Billboard Korea.
EMPIRE is officially stepping into Asia as the powerhouse independent label announces the appointment an executive with a track record of fostering crossover talent. Known for being pivotal in developing several breakout Asian acts, Jeffrey Yoo has been appointed EMPIRE’s senior vp of East Asia, the company announced on Thursday (Oct. 31). The seasoned exec […]
G-Dragon is reclaiming the spotlight on his terms.
The K-pop icon’s first single in seven years, “POWER,” drops Thursday (Oct. 31) as part of a new partnership with his Korean agency, Galaxy Corporation, and EMPIRE, the major independent record label that boasts Shaboozey on its roster.
Known for shattering K-pop conventions and cracking the Billboard charts early in K-pop’s rise as both the leader of boy band BIGBANG and as a solo artist, G-Dragon’s unmistakable confidence — “Guess who’s back/It’s your boy, GD!” — kicks off the hip-hop-infused, high-energy anthem. The comeback cut was co-written by G-Dragon alongside Tommy “TB Hits” Brown, Theron Thomas and Steven Franks.
“‘POWER’ manifests the essence of music,” G-Dragon said in a statement. “I express myself through music. This marks the beginning of a new era and I hope to inspire people who listen to my music.”
“G-Dragon is a cultural force that has laid the foundation for K-Pop’s global dominance,” added Ghazi, founder/CEO of EMPIRE. “This partnership reinforces our mission at EMPIRE to work alongside artists that will shape the future of global music.”
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G-Dragon was signed to EMPIRE by the company’s newly appointed senior vp of East Asia, Jeffrey Yoo.
The signing with the indie label marks a new freedom for the Seoul superstar following his exit from longtime record label YG Entertainment (home to BLACKPINK, TREASURE and BABYMONSTER) last year after two decades.
During his time at YG, G-Dragon led BIGBANG in becoming the first K-pop act to land a Korean-language album on the Billboard 200 in March 2012. He’s also scored three solo entries on the Billboard 200 and held a record for the most entries on the tally among K-pop soloists for years; he now shares the record with BTS‘ RM and J-Hope. While his music career has led to collaborations with the likes of Diplo, Missy Elliot, Sky Ferreira, Skrillex and M.I.A., plus a placement on the 2023’s Elvis soundtrack, G-Dragon also became an integral figure in the fashion and art world with his streetwear brand PEACEMINUSONE along with campaigns with Chanel and Nike.
Looking ahead, the K-pop king will perform at the upcoming MAMA Awards in Japan on Nov. 23, marking his first performance in nearly a decade at the influential K-pop awards show. Earlier this month, Billboard also reported that Tencent Music Entertainment Group had partnered with Galaxy Corporation for his upcoming tour.
G-Dragon
Galaxy Corporation
Min Hee-jin’s mission to be reappointed as CEO of NewJeans’ label ADOR just hit another hurdle. On Tuesday (Oct. 29), a South Korean court dismissed the embattled executive’s application to be reinstated in the position, according to reports from Korea JoongAng Daily and Mael Business Newspaper.
According to a source familiar with the matter, the dismissal means the court ruled in favor of HYBE and terminated the case without a judgment on its merits — essentially not conceding or accepting Min’s filing to begin with.
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Min originally submitted her application for reappointment on Sept. 13. In it, she asked the court to order HYBE’s internal board to re-elect a “new” CEO (a.k.a. herself), arguing that she needed to be in the position in order for NewJeans to continue its activities. However, the court’s latest decision has weakened that argument, the source says. Should Min continue her push to be reinstated as CEO, she will likely need to use a different argument to have any chance of her case moving forward.
For the time being, Min is expected to stay on as an internal director of ADOR. She was replaced as CEO by Kim Ju-young, HYBE’s head HR officer, in August.
“We acknowledge and appreciate the court’s wise ruling,” a representative for HYBE tells Billboard in a statement. “In light of this decision, HYBE is dedicated to normalizing ADOR’s operations, improving our multi-label capabilities, and supporting the activities of our artists.”
The development is the latest event in Min and HYBE’s months-long power struggle over ADOR and its powerhouse act NewJeans that stretches back to April 2024. Following an internal audit of ADOR, HYBE — also home to acts like BTS, Seventeen and Le Sserafim — called for the immediate resignation of Min as CEO, accusing her of trying to hijack the label imprint as well as NewJeans. The conflict has since devolved into a tangled web of he-said-she-saids, multiple lawsuits, and ultimately, Min stepping down from her position on Aug. 27.
Throughout the process, the members of NewJeans have become increasingly involved in the conflict, publicly sharing their support for Min during live performances and in a since-deleted 27-minute YouTube video in which they alleged mistreatment and a toxic work environment at HYBE. Most recently, NewJeans member Hanni, 20, appeared in court to testify to South Korean lawmakers about alleged workplace harassment, saying, “I came to the realization that this wasn’t just a feeling. I was honestly convinced that the company hated us.” During her testimony, she cited instances when she felt HYBE undermined the band and senior managers of the company deliberately ignored her.
While Min hasn’t yet released an official statement regarding the latest court decision, she’s gone on the record to South Korean media saying that she plans to “go all the way” in her legal pursuit to be reinstated.
Following the court’s decision, ADOR’s internal board again voted against reinstating Min on Wednesday (Oct. 30).