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Just days after launching an audit into subsidiary label ADOR and asking its CEO, Min Hee-jin, to exit, the Korean entertainment giant says it will report the executive to police.
The announcement came ahead of Min holding an emotional press conference in Seoul, where she refuted allegations of usurping ADOR girl group NewJeansâ management, shared conversations she had with the groupâs members and addressed other rumors as the Billboard 200âtopping girl group prepares to launch its new single, âBubble Gum.â
On Thursday (April 25) local time in Korea, HYBE shared the following statement with the media as an update to its audit regarding ADOR, CEO Min and other executives at the label:
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On April 25 KST, HYBE announced that the company will report CEO Min Hee-Jin of its subsidiary label ADOR to police for a breach of trust and other related allegations today.Â
HYBE secured substantial evidence to prove that Min deliberately led the plan to take over management control of the subsidiary, through the audit process. The evidence included detailed discussions that Min has ordered the ADOR management to find ways to pressure HYBE into ultimately selling ADORâs shares. One of the audited parties submitted information assets to seize the management of ADOR and to attempt to contact external investors. The auditee also admitted to creating the documents to attack HYBE.
In the meantime, HYBE will continue to provide attentive mental and emotional care to the companyâs artist NewJeans and best support for their upcoming comeback. The company will meet legal representatives of the respective members as soon as possible to discuss the plan to protect the act.
As previously reported, Min earned an 18% stake in ADOR in late 2023, when HYBE moved from full ownership of the label to 80%, with the additiona 2% owned by other company executives.
Following Min Hee-jin and ADOR going on the offensive with interviews and multiple statements to various Korean media alleging that HYBE has been exploiting ADOR and allowing NewJeansâ concept to be plagiarized, the K-pop industry veteran held a press conference with her lawyers that lasted more than two hours on Friday.
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According to the Korea JoongAng Dailyâs minute-by-minute report, Min arrived for the 3 p.m. press conference casually dressed in a baseball cap and simple T-shirt to be greeted by a slew of photographers â so many that at one point, the executive said she wouldnât be able to speak if the camera flashes continued. Throughout the two-hour event, Min proclaimed her innocence, shared her disagreements with HYBEâs leadership, rebutted their conclusion that she wanted to seize NewJeansâ management and tried to shift focus back to her original internal complaint regarding plagiarism. Under Minâs leadership, ADOR previously claimed that HYBEâs newest act, the five-member girl group ILLIT formed under another subsidiary, BELIFT LAB, is copying NewJeans.
While weaving through stories with her lawyers alongside her, an at-times sobbing Min also addressed rumors regarding current and past HYBE artists including BTS, GFRIEND, LE SSERAFIM and more.
During the first half hour of the presentation, Min shared text message chats she claims she had with HYBE founder/chairman Bang Si-hyuk and HYBE CEO Park Ji-won. These alleged texts, according to Min, show Bangâs interest in buying Source Music, where Min previously worked, to launch a girl group. She also revealed that she recruited NewJeansâ eldest member, Minji, from Sourceâs trainee pool for ADOR. Min further claimed that HYBEâs debuting LE SSERAFIM under the Source label led to NewJeans being cast aside and created internal issues.
In a 2022 Billboard interview shortly after NewJeansâ debut, Min described her move away from Source Music by noting that âthere would have been a number of different challenges involvedâ at the time and that she instead focused on creating âan independent label,â which became ADOR. âADOR is a label that started with guaranteed autonomy, so it has no ties with HYBEâs management,â Min said. âThey actually didnât have any knowledge about anything we were going to release up until the first music video was released.â In the same interview, a question regarding Minjiâs time as a trainee under Source Music was never addressed by press time.
After the first hour of the press conference, Min added claims that her contract terms with HYBE were unfair, though her lawyer said the details of the contract are confidential. Min also alleged that HYBE spun her contacting a law firm as external consulting, creating the current situation. Min pointed to multiple misunderstandings, including those that arose from jokes between her executive team, and added that HYBE still owes her money.
Through tears, Min revealed more text messages claiming that a NewJeans memberâs mother called her to encourage her to speak out. During the Q&A with the press in attendance, Min contended that NewJeans members Hanni and Haerin have specifically reached out to her in support.
Separately, two NewJeans members have made public appearances amid the K-pop power struggle. Minji attended a Chanel pop-up store opening on Tuesday (April 23) in Seoul, while Danielle attended different fashion events on the Tuesday and Wednesday, though neither has made public statements on the matter.
Throughout the press conference, Min also touched on BTS (refuting an online rumor that she claimed the Billboard chart-toppers had copied her ideas), GFRIEND (saying she had nothing to do with the groupâs abrupt 2021 disbandment soon after her formal start at HYBE) and took several shots at the teams behind ILLIT by sharing how the members are innocent but âitâs the adults that have sinnedâŠcopied all the formulas that we had with NewJeans,â from the concept to fashion collaborations, as reported by the Korea JoongAng Daily.
Just as HYBE did in its statement, Min ended her press conference by re-focusing attention on NewJeans. Despite the clash, the K-pop groupâs upcoming music video for âBubble Gumâ is still set to premiere on Friday (April 26) via the HYBE Labels YouTube channel.
Universal Music Group is betting big on French-speaking Africa, announcing a new partnership on Wednesday with WĂšrĂš WĂšrĂš Music founder Binetou Sylla to lead Def Jam Africaâs efforts in the rapidly growing music market. Working with Universal Music France and Capitol France, Sylla and her team will focus on discovering and producing French-speaking artists in […]
Following an impressive run in 2023, producer BYNX officially partners with Zack Biaâs label Field Trip Recordings and Capitol Records. In addition, BYNX will work with Yeatâs Lyfestyle Corporation, who will work with him on the marketing side.Â
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âBNYX is an exceptional musician, a true artist with a specific vision but, above all, an incredible human,â says Bia, founder of Field Trip. âYeat brought him into our lives, and heâs turned into family. It is only right we would all partner to bring his music to the world as the first official signee to Lyfestyle Corporation / Field Trip / Capitol Records. We couldnât be more honored and excited.â
Capitol Music Group chairman and CEO Tom March echoes Biaâs sentiments and is eager to see the Philly producer blossom under their tutelage. âAs a producer, BNYXÂźïž has had a profound impact on both music and culture,â he says. âWeâre thrilled to partner with him, his manager Ness, the brilliant Zack Bia, and Field Trip Recordings on the launch of BNYXÂźâs solo career. Itâs a privilege to enter this new era together, continuing our longtime relationship with Zack and the Field Trip team.â
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BYNX expressed his gratitude, telling Billboard: âIâd like to thank God, my manager, and Rick Owens.â
BYNX carved out a formidable lane for himself on the hip-hop side, working with the likes of Drake, Travis Scott, Nicki Minaj and his running mate, Yeat. BYNX produced four records from Yeatâs 2023 album AftĂ«rLyfe and Drakeâs âSearch & Rescue,â which debuted at No. 2 on the Hot 100 last year.
The partnership with Field Trip and Capitol will enable BYNX to release his debut album and single soon. Fans of the BYNX and Yeat tandem can rejoice, as the producer will join the âIDGAFâ rapper on a soon-to-be-announced run of special shows this summer.
While HYBE has successfully expanded into an entertainment powerhouse built around its multi-label structure, the Korean corporation says it has investigated one of its crown jewel agencies, ADOR, the home of chart-topping girl group NewJeans.
Since its launch in late 2021, ADOR (an acronym for the phrase All Doors One Room) has been led by Min Hee-jin, a veteran creative in the K-pop industry who famously helped develop the sceneâs penchant for artistic concepts and craft era-defining K-pop acts like Girlsâ Generation, SHINee, f(x), EXO and Red Velvet during her tenure at SM Entertainment. After Minâs exit from SM, she joined thenâBig Hit Entertainment in 2019 as chief brand officer and helmed the companyâs rebrand into HYBE. During the 2021 rebrand reveal, HYBE announced Min as CEO of a new label, ADOR, with plans to debut the girl group that would become NewJeans.
Earlier this month, a report by Koreaâs Financial Supervisory Service revealed that Min controlled an 18% stake in ADOR since late last year. HYBE previously had complete control of the label but now boasts 80%, with an additional two percent owned by other company executives. HYBE reportedly invested 16.1 billion won (about $11.7 million) to establish ADOR.
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Less than two years into NewJeansâ history-making debut, HYBE is asking Min to step down from ADOR after an audit of her, the label and its executives.
HYBE confirmed to Billboard that on April 22, the company âinvoked the right to audit CEO Min Hee-Jin and top executives of its subsidiary label ADOR.â HYBE said it âcalled them to summon a shareholder meeting and sent an official letter to ask CEO Min to step down.â Â HYBE added that it could not provide further information on reason or reasons for the audit or why it is asking Min to step down.
Since news of the audit went public, ADOR and Min Hee-jin have gone on the offensive in the Korean media.
In a series of statements, ADOR claims HYBEâs newest act, the five-member girl group ILLIT under another subsidiary, BELIFT LAB, is copying NewJeans. With HYBE founder and current chairman Bang Si-hyuk involved in ILLITâs debut album Super Real Me (No. 6 on the World Albums chart after three weeks), ADOR claims both BELIFT LAB and HYBE are complicit in the alleged infringement. ADOR says they raised the copycat issue internally a month ago but did not receive answers, claiming now that HYBEâs attempt to remove her as CEO is a result of bringing up the alleged problem. Min gave an additional interview to Korean outlet Sports Ilgan to fire back at rumors she was trying to break ADOR away from HYBE or seek outside investors to go independent with her 18% stake.
Min Hee-jin has not responded to Billboardâs request for comment.
Min and ADOR quickly spun NewJeans into a slew of record-setting achievements including a No. 1 album on the Billboard 200 with 2023âs Get Up just a year after the debut, five Hot 100 hits to their name, a well-received live debut in the U.S. at Lollapalooza last year, plus honors like Top Global K-Pop Artist at the 2023 Billboard Music Awards and the first K-pop act honored as Group of the Year for Billboardâs Women in Music. In 2023, Min earned a spot on Billboardâs International Power Players and Women in Music executive lists and also collaborated with V of BTS on the overall production of his debut solo album, Layover, which peaked at No. 2 on the Billboard 200 in September.
The K-pop power clash comes as NewJeans prepares for several releases including new singles âBubble Gumâ and âHow Sweet,â with the formerâs music video scheduled to drop April 26 on the HYBE LABELS YouTube channel. NewJeans is also preparing their first-ever Japanese singles âSupernaturalâ and âRight Now,â as well as a new album planned for the second half of 2024.
Elsewhere in the HYBE universe, ILLITâs âMagneticâ is currently at No. 91 on the Hot 100, making it the first debut single from a K-pop act to enter the ranking. New music from HYBE artists like Zico (under HYBE LABELSâ KOZ Entertainment) and SEVENTEEN (PLEDIS Entertainment) are also coming this month. Historically, internal company issues can affect K-pop music or content releases, but no updates have been shared as of press time.
Following her departure from longtime home Sony Music Nashville last year, Miranda Lambert has signed a new deal with Republic Records. Nashvilleâs Big Loud will provide country radio promotion and marketing efforts as part of its partnership with the Universal Music Group-owned label.Â
As the first salvo in the new deal, Lambert will release the new track âWranglersâ on May 3. It will mark her first new music since the release of her 2022 album, Palomino. ââWranglersâ is a tale of a woman taking her power back. I think we can all identify with the character in this song, because we have all had a time in our life that we needed to find a way to find our strength and also get a little revenge on someone that did us wrong or hurt us,â she said in a statement.  Lambert will likely premiere the song during the seven-time CMA female vocalistâs headlining Stagecoach Festival appearance this Saturday (April 27).
Lambertâs affiliation with Republic comes as the New York-based label has moved more into country music and further into its partnership with Big Loud; in March, Big Loud inked a multi-year distribution deal with Mercury Records/Republic for all of its acts. Previously, only releases by Big Loud acts Morgan Wallen, Lily Rose and Dylan Gossett had gone through the partnership. Notably, Gossett is signed to Big Loud Texas, an imprint Lambert and Jon Randall started last year through Big Loud.Â
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âBeing in Texas with Jon, recording where I cut my teeth as a young artist, felt like coming home. I thought about the women â and men â whoâve lived, loved and found power in my music, and I wanted to get back to the root of those spaces,â continued Lambert, who is managed by Marion Kraft. âTalking to [Republic founder/chairman Monte [Lipman], [Republic founder/vice chairman] Avery Lipman and the team at Republic, as well as [Big Loud CEO] Seth [England] and the Big Loud folks who are leaning in, everyone understood my desires and vision for this next era of my music. Aligning like that is empowering; it gives you a license to really chase it. Signing with Republic has inspired me to find the sweet spot for me and all the people like me. I canât wait for everyone to hear âWranglers,â and the rest of this record.â Â
âMiranda Lambertâs legacy as both a consummate storyteller and legendary performer speaks for itself. Her new music is spectacular and we are thrilled and honored to welcome her to Republic Records in partnership with Big Loud,â added Monte Lipman.
Lambert added that the move has been inspiring. âHaving a new home has given me a hunger I didnât realize I still had inside me,â she said. âThis song feels like it could be on the same record as âGunpowder & Leadâ; it has that same fury. I canât wait to get out there with this new label and this new music⊠Monte Lipman and his team fire me up!âÂ
âGunpower & Lead,â featured on Lambertâs second album, 2007âs Crazy Ex-Girlfriend, became her first top 10 hit on Billboardâs Hot Country Songs chart.Â
Thereâs no word on when Lambert will drop a new album, but Republic president/COO Jim Roppo said in a statement, âAs she puts the final touches on her fantastic new body of work, it has all the hallmarks of her signature sound, yet she continues to push herself as a songwriter, producer and performer. Weâre all at the beginning of a very special moment, and weâre grateful to be on this journey with her.â
Lambert, the most awarded artist by the Academy of Country Music Awards, recently wrapped her residency in Las Vegas and will be on the road through September, during which time she will headline several music festivals.Â
When Annie Ortmeier was appointed co-president at Triple Tigers in September, one of the programs she undertook was retooling Scotty McCreeryâs online presence.
One person, rather than an independent firm, was devoted to the singerâs social media, and in the first six months, his email list doubled in size alongside growth in his streaming and his online followers. When McCreery received the trophy for CMT digital-first performance prior to the CMT Music Awards on April 7, it marked his first win at that ceremony in 12 years, and Ortmeier took it as a sign that their revised marketing efforts are working.
âWe made voting a part of our social media strategies since the nominations came out,â she says. âI canât help but think that had a lot to do with him winning that award.â
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Ortmeier and Warner Music Nashville co-president/co-chair Ben Kline are the first two country label heads whose paths to leadership included working full time in digital marketing. Ortmeierâs journey started in 2004 at CMT.com, where she ventured into ecommerce for CMT, VH1, VH1 Classic and Comedy Central. She segued into digital marketing for Universal Music Group Nashville.
Kline started more traditionally in the 1990s with the pop divisions of PolyGram and Island before joining UMGN in 1997, staying in Nashville for a dozen years. By the end of that run, new media had become part of his job title. He left to work for three years at InGrooves, a company focused strictly on distributing and marketing music online. It was a key piece of his development as a 21st-century music executive prior to his 2014 return to Nashville with WMN.
âEvery decision we made [at InGrooves] was viewed through the digital lens, and we were raising money and going through a couple rounds of funding, and the conversations all were digital: âWhatâs the future? Whatâs next? What are the growth patterns?ââ he recalls. âIt was a digital-driven business, and you had to understand the ins and outs of how to speak to consumers and speak to partners in that space.â
Both Kline and Ortmeier first devoted their efforts to digital music and promotion full time in an era when CDs and airplay were still the primary vehicles for the country genre. Their early commitment to then-new platforms uniquely positioned them to take label reins once the industryâs drivers flipped.
âI was working in streaming when it was 15% of the business,â Ortmeier recalls of her earlier UMGN work. In more recent years, âit was 85% of the business. So it completely inverted.â
Label leadership has changed dramatically in Nashville. In the earliest years of the business, record company heads â including Chet Atkins at RCA, Owen Bradley at Decca and Ken Nelson at Capitol â tended to be producers. It made sense; labels earned their money by selling singles and albums that were exposed through radio, and producers generally had a handle on the sounds that worked on-air. But as the industry increasingly relied on the sales of more expensive albums, record companies more frequently gave the top position to promotion and marketing execs, including Joe Galante at RCA, Bruce Hinton at MCA and Rick Blackburn at CBS.
Now that artists and labels reach listeners through virtual platforms, the industryâs central companies are turning to people who were on the front lines as those new avenues emerged, providing more data than was ever available before. Understanding that information is key to every modern marketing plan. But knowing when to apply humanity to the numbers is just as important.
âData can make smart people look dumb or make dumb decisions,â Kline reasons. âAnalytics and data help inform, but it canât be how your decisions are all based. Gut and instinct and knowledge and past experience â they all have to play a role.â
One of the key lessons of past experience, however, is that the past may not be much of a predictor for how to reach fans in the future. Taylor Swift famously built some of her earliest fan base on Myspace, which is now a quaint relic with outdated accounts. Luke Combs came to prominence by introducing his music on Vine, which was shut down in 2017.
âWhatever is working today, enjoy it today, because it may not work tomorrow with the digital world,â Kline says.
That same digital environment has radically changed the way that labels and artists find one another. In another era, artistsâ consumer marketing started primarily after they signed a recording deal and started releasing music. Now the artist already has a fan base before labels will even consider a signing, and the act is usually savvier about how to interact with that audience. Thus, meetings with an artist in 2024 are different than they would have been in, say, 1994.
âTheyâre creating fans, theyâre talking to them, theyâre sharing music, theyâre getting their music heard,â says Kline. âThink about the stories that artists bring by the time they go sign deals versus what it was 30 years ago. I mean, itâs unbelievable, so the conversation has to change.â
Similarly, that overall country audience is different. Streaming platforms make more artists and more genres available, so even core country listeners are likely to ingest a wider range of music. Similarly, the genre is accessible to a much larger slice of the population. Thus, the current BeyoncĂš moment is possible, in part, because of streaming. Cowboy Carter is connecting because she was able to harness her established audience in addition to appealing directly to country fans. Had she attempted to cross over in â94, her primary options of exposure would have been late-night TV appearances, prominent in-store placement and whatever radio play she could muster. PDs who were protective of countryâs identity would have felt reluctant to give a playlist slot to a pop singer who was likely to stick around for only one album.
âIt does open up a consumer who never thought they were a country fan, much like Garth Brooks did 30-plus years ago,â Ortmeier suggests.Â
The shift to digital marketing and distribution in country directly aided the rise of Kline and Ortmeier to label leadership. Streaming is here to stay, so itâs a good bet that these two execs are setting what could be a long-term precedent.
âI do think,â predicts Ortmeier, âthat there will be others behind us.â
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On Jan. 30, the day before Universal Musicâs deal with TikTok lapsed, the company announced in an open letter that âwe must call time out on TikTok,â for not paying rightsholders and creators enough. Universal immediately began removing its recordings from the platform â then, by the end of February, took down every composition to which it had some rights. Essentially, Universal went to war for the value of music, to benefit not only it and its artists and songwriters, it said, but the entire industry. And although the two other major labels declined to comment at the time, Primary Wave, Downtown and Hipgnosis publicly backed Universal, and in late March Sony Music CEO Rob Stringer told the Financial Times that he did not rule out taking the same action as Universal.
Not Taylor Swift, though.
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By April 11, a little over a week before the release of Swiftâs new album âThe Tortured Poets Department, which comes out April 19 â songs from Swiftâs albums to which she owns the rights were available on TikTok. Which made for an uncomfortable conversation, youâd have to imagine â and thatâs about all you can do, because neither Universal nor Swiftâs representative would comment and TikTok could not be reached for comment.
It seems that Swiftâs contract with Universal allows her to either license the recordings she owns herself or somehow opt out of label licensing policies, which is an unusual amount of independence. Usually acts with that kind of leverage choose to leave their music off of new services â the Beatles waiting to offer their music on the iTunes Store is the classic example â or strike some kind of exclusive deal, like Garth Brooks did with Amazon Music. Itâs hard to think of another example where a label announced it was going one way and its biggest artist â although she hasnât said anything about her decision â went another.
Thatâs a big deal. Eventually, Universalâs other megastars â think Morgan Wallen, Drake, or The Weeknd â might want that same freedom or start to think about using whatever freedom they already have. Some artists have more power than others, though: Swiftâs contract is generally thought to be more like a distribution deal, where she owns her new recordings, including the Taylorâs Versions of her old albums, but licenses them to Universal. Also, with 18.9 million album consumption units in 2023, more than some divisions of major labels, she has more market power than any other artist.
Given TikTokâs relatively low payouts, many executives assume that Swift appreciates the platformâs promotional value, even though she doesnât exactly need it â Tortured Poets would almost certainly be the biggest album of the year either way. Thereâs also speculation that she wants to reach out to younger fans with shorter attention spans.
This reasoning seems to go against Swiftâs reputation for sticking up for the value of music more broadly, as she did when she declined to release her 1989 album on Spotify, pushed Apple Music to pay rightsholders for plays during the serviceâs free trial period and insisted that Universal pay artists their share of the proceeds from its Spotify stock sales whether their deals had recouped or not. âThis is not about me,â she wrote about the Apple situation at the time, but rather about emerging artists. What happens to them now? It has even been suggested that Swift essentially crossed a picket line of sorts.
Thatâs a bit much. The concept of a picket line implies a situation in which people who are paid on a scale are bargaining collectively, and thatâs not the case here. And itâs not Swiftâs responsibility to fight for the overall health of the music business â sheâs an artist and sheâs already done far more than most. For that matter, thereâs more to creatorsâ rights than the size of a check. If you think about the way Swift re-recorded her old albums, she may place as much value on control â not only how much she makes on an album, but who owns it, how they present it, and where and under what circumstances it can be heard. Iâm not sure whether her decision about making her music available on TikTok is the right one, but I am completely positive that itâs not mine to make.
This is all based on the assumption that Swiftâs agreement with TikTok is vaguely similar to the one labels have, but that may not be the case. If you think about Swiftâs instinct for navigating the music business, her deal could be much better â perhaps with an advance or guaranteed minimum or other kinds of considerations. (Just to be clear, I have no idea.) If you were, or managed, an artist with that kind of market share, what would you ask for? And if you worked for TikTok, facing political pressure in the U.S., as well as a difficult negotiation with the biggest music company in the world, how much would you be willing to offer?
In the modern media business, market share doesnât just create efficiency â it also offers important negotiating leverage, especially with technology companies that operate on a global scale. Thatâs why music and film companies are buying rivals, getting deeper into the distribution business, and pursuing growth so aggressively in the first place. Swift may be the only artist there is who can offer real scale by herself, built on recordings she owns herself, so labels donât need to worry about this becoming a trend. But whatever Swiftâs decision means for the industry at large, it seems somewhat inevitable that she would pursue, and at some point use, the power her market share gives her â just as the major labels do.
When Steve Stoute connected with Davido at his UnitedMasters SelectCon event last year, he didnât flinch at the opportunity to build with the Afrobeats superstar; after their initial encounter, the executive visited Davidoâs homeland of Lagos, Nigeria and dared the âFallâ singer to dream bigger. Stoute envisioned Davido, adept at crafting sugary melodies with a Nigerian flair, leading nothing less than a global takeover â not just as a premier artist but as a businessman.
Starting Wednesday (April 17), the three-time Grammy nominee will embark on a new chapter as a full-fledged executive, signing a deal with UnitedMasters (which recently launched in Nigeria) to start a new label, Nine+ Records. Stoute and Davido are clear that they wonât limit themselves to Afrobeats but will venture into the realms of hip-hop, R&B, Latin, country and more, casting a wide net for new talent.
âI think the music that Davido has been able to make, produce and share with the world has been amazing,â says Stoute. âFor me, I think his connection between Nigeria and Atlanta, and everything heâs gone through has brought unique experiences that I can hear and feel through his lyrics and production. I didnât even know that [at the time], I just knew there was something different about his sound and the way he structured his songs.â
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According to Stoute, it didnât take much convincing: He sold Davido on the possibilities of building a label reminiscent of the hard-nosed rap imprints he witnessed first-hand in the â90s and â00s.
âThereâs such a big opportunity globally and I see him as an entrepreneur that could build the next Bad Boy, the next Death Row and the next label that has significant impact like a Cash Money,â Stoute says. â[I told him to] forget everything you were doing before, letâs commit to building something in a joint venture and thatâs the formation of Nine+ and UnitedMasters.â
Billboard spoke to Davido and Steve Stoute about their newly minted partnership, the importance of having a great team and more.
Davido, what made you decide to partner with UnitedMasters for your new label Nine+ Records?
Davido: Shout-out to big bro. Thereâs one thing that Iâll always love, which is nurturing new talent, bringing them up and helping them grow. Iâve been doing that since Afrobeats wasnât even Afrobeats, since when you guys didnât even know what it was. Since I came up from writing my first song, Iâve been helping my two cousins work on their music. I put them under my label, but it got to a point where I felt I needed some knowledge. I need some mentors to advise me. Some artists, all you need is one hit song and your life can change. Sometimes, when you get to that point, you donât have anybody to advise you on how to move and get good paperwork done. I just felt like that was one thing Steve Stoute represents, and thatâs helping the artists and making sure they know the best option when it comes to business. My job is obviously to bring the creatives and deliver, but I do need Steveâs vision on how Iâm going to advise on these new artists.
Steve, speak to the tutelage you hope to instill in Davido from an executive lens with the years of experience you have under your belt.Â
Thereâs a thin line between what a talent and what an executive has to do. For a lot of talent, itâs very hard to be an executive or itâs hard for them to jump that fence. Iâm gonna be there to help him because he comes from a lineage of very, very tight, philosophically sound businessmen.
His father was a G. His father was very special and talented. Davido is also very creative. It takes that sort of left brain and right brain to be a talented musician who could work with talent as well as be a business person. To be able to bring that together to build one of these legacy companies, the greatest artists always had that attribute. He has that attribute.
The best thing that I can do is, you use my experience as a veteran in this business to help put up some guard rails to keep him going because I want him to become the biggest artist in the world and continue his trajectory as an artist, but then build something thatâs a legacy outside of that with Nine+.
Before this, I was the president at Interscope. When Jimmy [Iovine] built Interscope, it was all about these labels. Whether it was Pharrellâs label, Organized Noize, Timbaland, or Aftermath, these were labels that were built because Jimmy built The Ruff Ryders. Jimmy believed in that model. So I came from working with talent who had labels and I understand how to build that model just from that experience. I want to pass that along to this young entrepreneur, creative genius.
Whatâs the best advice youâve gotten from Steve on accelerating as an executive and building out Nine+ on what you ultimately want it to become?
Davido: First of all, you gotta have a good team. Thereâs one thing I learned from Steve: I didnât know you had to get all of this to get a label because where Iâm from and where you record, thereâs no office. NowâŠwith Steve, weâre getting an office, weâre getting [a lot]. I have a studio and a headquarters, but itâs different from the way Iâve worked.
Steve Stoute: If you wanna scale, you gotta bring structure. Heâs a super-talented guy. Heâs gonna find talented people. Thereâs been a lot of people who are talented, but they didnât have the business structure around them. They never got a chance to see the effects of their talents go all the way. Itâs the guys who had structure with talent that were able to actually go all the way. My job is bring that structure to him and hopefully to his team.
He has a great team around him. He has a great team of people with chemistry. Chemistry is undervalued and underrated. Itâs very important who you want to work with. Weâre here to bring that structure and funding so he can do what he has to do. My job isnât to go in there and A&R records. If I can get him in the room with the producers and the artists, and I can get it out the room, thatâs my job. To get in the room and to get out.
Again, my experience in doing this for a while and being able to help bring that structure, whether itâs an office or not, is what Iâm bringing to the table and Iâm looking forward to working with him and building something thatâs an aspect of his legacy.
With Nine+, are you looking to expand beyond Afrobeats?
Davido: Oh yeah, everything. R&B, trap, etc. Obviously, Iâm going to start in Africa, but definitely yeah. I can see us going all the way. I donât see why not.
Steve Stoute: Look, I told you, my man has roots in Atlanta and Nigeria. This is not going to be limited to anything. When you have creative people who can understand melodies, beats, rhythms and songs, whether itâs country music, trap music, hip-hop music, Latin music, none of these things are off-limits. I think we look at it as global music. I think Davido is a global superstar. Heâs going to sell out Madison Square Garden like he sells out London, like he sells out buildings in Africa. Thatâs what he does. He wants to make global music, so weâre looking for artists that have that potential and itâs not limited to genre. It is limited to great music.Â
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Joseph Oerke has been promoted to executive vice president, Decca Records U.S., the Verve Label Group announced on Tuesday (April 16). âI love classical music,â Oerke said in a statement. âIn fact, I moved to New York to study oboe and got my first job in the gift shop at the Metropolitan Opera. I think […]

What a difference a year â or a couple of months with a massive label shakeup â can make.
The reorganization of the Universal Music Group that occurred in February â which loosely divided the music giantâs labels under two umbrellas, Republic Corps and the Interscope Capitol Labels Group (ICLG) â has created a new hegemony that effectively splits its industry-leading market share in half, meaning that Republic Corpsâ Monte Lipman and ICLGâs John Janick sit atop label empires that, in a given week, can rival the Warner Music Group as a whole in terms of market share. (For Republic, given its partnership with Big Loud for Morgan Wallen and the eye-popping success of Taylor Swift and others, that was already the case at times last year.) In the first quarter of 2024, for example, both Republic Corps (13.69%) and ICLG (13.81%) put up current market share figures that are more than double the next-highest label from any other company.
Yet for comparisonâs sake â and to get a sense of the trends in the market â weâll set that reorganization aside for now, particularly as it happened in the midst of a quarter and thus doesnât reflect the totality of the first three months of 2024. And even under the old alignment, Republic (which, even prior to the shift, encompassed Island, Big Loud, Mercury and Imperial) and Interscope (which similarly already included Geffen and Verve Label Group) still lead the pack for releases through the end of March.
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Republic, on the strength of enduring hit albums by Wallen, Swift, Drake and Noah Kahan, as well as the huge success of the new Ariana Grande album eternal sunshine, posted a 12.84% current market share (defined as albums released within the past 18 months), only marginally coming down to earth from the eye-popping 13.47% full-year current share it posted in 2023, and a slight uptick over the 12.45% first quarter it enjoyed last year. Meanwhile, Interscopeâs 9.10% current share is a big jump from the 7.75% it posted in the first quarter of 2023, and up from the full-year 8.80% it posted last year, with the enduring success of Olivia Rodrigo and breakout singles from Xavi (âLa Diablaâ and âLa Victimaâ), among others, helping boost its position.
But perhaps the biggest story of the first quarter of 2024 has been the smash success of Warner Records, which surged from seventh place in Q1 2023 (5.23% current share) all the way to third in Q1 2024 (6.41%), reflecting the remarkable success the label has had on the Hot 100 so far this year. Benson Booneâs âBeautiful Things,â Teddy Swimsâ Hot 100 No. 1 âLose Controlâ and Zach Bryanâs âI Remember Everythingâ feat. Kacey Musgraves are all among the top five songs of the year so far, while Bryanâs 2023 self-titled album and his 2022 album American Heartbreak are both among the top 20 albums of the first quarter. Warner â whose market share includes catalog label Rhino as well as Warner Latin and parts of Warner Nashville â continued to build on its 2023 trajectory, when it finished with a full-year current share of 5.96%.
That surge pushed Atlantic Records down into fourth place, at 5.14% current share, a drop of more than 2% from the 7.22% it maintained in Q1 2023. Atlantic â which includes 300 Elektra Entertainment in its market share â did have a big hit from Jack Harlow, whose single âLovinâ On Meâ topped the Hot 100 for five weeks in the first few months of the year. Atlanticâs hold on fourth, however, was only 0.01% above RCA Records, which came in at 5.13%, as the enduring strength of singles by SZA, Doja Cat and Tate McRae, combined with a viral smash from Flo Milli (âCruel Summerâ), kept the label in fifth place, despite dropping from 5.76% in Q1 2023, when the SZA album had a lock on the top of the Billboard 200.
Sticking in sixth place is Capitol Music Group â whose market share still contains indie distributor Virgin, as well as Quality Control/Motown, Capitol Christian, Astralwerks and Blue Note â which posted a 4.71% current share, down from 5.56% in the first three months of 2023. Dropping to seventh is Columbia, which includes some labels from indie distributor RED in its market share, at 3.71%, down from 5.85% a year ago. Though, in this particular ranking, Columbia is an unfortunate casualty of the end-of-March cutoff date; BeyoncĂ©âs Cowboy Carter debuted the week after with the biggest first week of the year, which will be reflected in the second quarter. In eighth, Epic Records saw a big boost, posting a 2.99% share (up from 2.06% last year), though that also seems like it will be trending higher in Q2, with the twin Future/Metro Boomin albums still growing. Sony Latin (2.38%, up from 1.92%) and Sony Nashville (2.08%, down from 2.30%) round out the top 10 in current market share.
Among the label groups, UMGâs dominance continued, with its 33.90% current share ticking up slightly from 33.59% in the first quarter of 2023, while Sony Music Groupâs 26.91% came in lower than last yearâs 28.46% â again, likely a quirk of the calendar. Still, despite Warner Recordsâ individual surge, the Warner Music Groupâs overall current share slipped to 15.98%, down from 16.81% in Q1 last year. (WMGâs market share still contains 1.09% from BMG, despite the latter announcing that it would be ending its distribution arrangement with Warner; projects that were in the works prior to the agreement ending are still going through the Warner system, a BMG spokesperson says.) The big beneficiary in current market share is the independent sector, which grew its mark from 21.15% in Q1 last year to 23.21% this year by distribution ownership, a significant increase. Both the independent release of the chart-topping Ye and Ty Dolla $ign album Vultures 1 and the huge success of Mitski’s âMy Love Mine All Mineâ contributed to the boost.
The numbers are more static when looking at overall market share, which includes back catalog, though the trends are still there: Universal (38.23%, up from 37.65%) and the indies (16.28%, up from 16.18%) both were up over Q1 2023, while Sony (27.23%, down from 27.62%) and WMG (18.26%, down from 18.55%) dipped. By label ownership, the independent sector remains larger than any individual major, accounting for 36.09% in overall market share, albeit down from the 37.38% it had in Q1 2023.
Among the individual labels, Republicâs huge current numbers pushed its overall market share above Interscopeâs for first place, at 9.94%, up from 9.16% last year, while Interscopeâs second-place showing at 9.85% still represented growth from its leading 9.44% last year. Atlanticâs strong catalog numbers meant that in overall share it remained in third place, at 7.65%, besting Warner Records, which jumped into fourth at 6.72%. Interscope, meanwhile, retained its top spot in catalog market share, at 10.09%, with Republic (9.03%) and Atlantic (8.43%) behind.