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Kaz Kobayashi is stepping down as president and CEO of Warner Music Japan after a decade in the role, the company announced on Wednesday (Sept. 18). His successor will be announced soon, and he is currently working with Dr. Kenji Kitatani, the newly appointed chairman of Warner Music Japan, on a transition plan. Kobayashi, who […]
Townsend Music, a U.K.-based distributor and direct-to-consumer retailer, has been acquired by Artone, a Dutch business with a portfolio of companies that caters to the physical music marketplace. Terms of the deal were not disclosed.
Townsend Music founder Steve Bamber called the acquisition “a clear opportunity to push its European expansion strategy forward quickly, with Artone’s well established sales, distribution and manufacturing facilities already in place.”
Artone can quickly scale up and meets its goal of becoming a global D2C company, according to sales director Bruce McKenzie. “Artone’s suite of services from vinyl manufacturing, EU physical distribution, and label services gives us perfect synergy to offer both our D2C clients and super-fan customers a super charged service,” he said in a statement.
Artone was formed in 2022 from the merger of Bertus Distribution and Record Industry, a vinyl pressing plant based in Haarlem, Netherlands. The portfolio of companies also includes Sound Factory, which provides artists and labels with solutions to sell exclusive content directly to consumers; two labels that release music in physical formats, Music on Vinyl and Music on CD; and V2 Benelux, which provides label services in the Netherlands, Belgium, France and Germany.
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“The acquisition is another welcome step for Artone’s continued expansion of its service portfolio and gives us presence in the UK market,” CEO Jan Willem Kaasschieter said in a statement. “This acquisition strengthens our position as a global leader in physical music distribution. We’re excited about the opportunities this will bring and look forward to driving the future of physical music together, developing further global reach and innovative solutions for the benefit of the music industry.”
Physical music sales continue to show strong growth as streaming takes a larger portion of the global market. In the United Kingdom, vinyl sales grew 13.5% and CD sales improved 3.2% in the first half of 2024, according to the Entertainment Retailers’ Association.
With vinyl sales continuing to rise and streaming growth slowing, the music industry is putting increased focused on reaching “superfans” willing to pay more for premium experiences and tangible products. The unmet opportunity to monetize superfans was a key talking point in Universal Music Group’s Capital Markets Day presentation on Tuesday (Sept. 17). “We’re creating and monetizing new ways to meet the superfans pent up demand for products, experiences and access that brings them closer to the music and to the artists that they love,” said CEO Lucian Grainge.
Warner Music Group CEO Robert Kyncl has also made superfans a priority during his tenure. “One of the most important things is to figure out a direct relationship with the most valuable fans,” Kyncl said at the Morgan Stanley Technology, Media and Telecom Conference on March 6. “Because it’s not only important to monetization and new revenue stream, but it’s also important to launching new music, which is the core of what we do.”
Effectively reaching superfans could be a lucrative endeavor for record labels. In its latest “Music in the Air” report, Goldman Sachs analysts put the global superfan addressable market at $4.5 billion—nearly 16% of the $28.6 billion recorded music market in 2023, according to the IFPI. Much of that revenue could come from music subscription services’ high-priced, high-value offerings that go beyond the current premium subscription tier.
Physical goods are a proven way to connect with superfans. Market research firm MusicWatch found that 20% of U.S. music fans are superfans for their favorite artists who go to concerts, buy merchandise and albums and would be wiling to spend more for VIP experiences from the artist. At the same time, more superfan sales are coming from the types of direct-to-consumer stores offered by Townsend. In the first half of 2023, U.S. direct-to-consumer sales tracked by Luminate increased 20% year-over-year.
Warner Music Latina has inked an exclusive partnership with Street Mob Records, the indie label founded by Fuerza Regida’s frontman Jesús Ortiz Paz (a.k.a. JOP).
Through the alliance, Street Mob Records’ artists Armenta, Clave Especial and Calle 24 will join the Warner Music Latina roster to “elevate these trailblazing acts to global stardom, while accelerating the evolution of Mexican and Latin music, ensuring its lasting impact,” according to a press release.
“Partnering with Warner Music is a powerful validation of what we’ve been building at Street Mob Records,” Ortiz Paz said in a statement. “It’s a testament to our artists, our team, and the culture we represent. We’re not just signing a deal; we’re creating a legacy that will inspire future generations of artists and entrepreneurs.”
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The Mexican-American hitmaker launched the West Coast-based Street Mob Records in 2018, which has served as an incubator of new regional Mexican music talent, and the three acts that are part of the deal represent some of Street Mob’s most promising talent.
Calle 24, led by Diego Millán from Chihuahua, Mexico is known for songs like “Qué Onda” in collaboration with Fuerza Regida and Chino Pacas, as well as “Apaga El Cel” and “Juré Venganza.” Hailing from Salinas, Calif., Clave Especial stands out for the group’s unique blend of traditional and modern sounds in songs like “Rápido Soy” and “No Son Doritos.” Meanwhile, Armenta from Sinaloa, Mexico, is a renowned producer and songwriter who has contributed to hits by Fuerza Regida like “Bebe Dame,” “Ch y la Pizza” and “Harley Quinn.”
“This collaboration with Street Mob Records is a monumental step forward in our mission to strengthen our Música Mexicana Division,” added Roberto Andrade Dirak, managing director of Warner Music Latina. “Street Mob Records has proven to be a key player in this vibrant industry, and we are excited to amplify the voices of their incredible artists on a global scale.”
“We are proud to welcome them to the Warner Music family and are committed to providing the support and resources they need to reach new heights,” said Tomás Rodríguez, president of Warner Music México & Mexican music.
Street Mob Records was represented in the deal by Walter Mosley of Mosley & Associates.
Jesús Ortiz Paz is set speak at the 35th anniversary Billboard Latin Music Week, which will feature exclusive panels, conversations and performances by Latin music’s biggest stars. Tickets are available now at BillboardLatinMusicWeek.com.
Afrobeats producer Thisizlondon has signed with Love Renaissance (LVRN), Billboard can exclusively announce on Tuesday (Sept. 17). Thisizlondon, formerly known as LONDON (real name Michael Hunter), has produced some of the biggest Afrobeats records in recent history, from Ayra Starr‘s “Bloody Samaritan” to Rema‘s Billboard Hot 100 No. 3 smash “Calm Down.” He’s also contributed […]
Kevin Liles will step down from his role as chairman and CEO of 300 Entertainment at the end of September, the respected executive announced on Tuesday (Sept. 17).
In an internal note to staff obtained by Billboard, Liles said he would be departing as CEO of the Warner Music-owned label at the end of the month but staying on as a consultant through the year. WMG CEO Robert Kyncl called Liles an “extraordinary brand-builder, artist advocate, and champion of creative expression,” adding that the role would not be filled once Liles steps down.
Liles, Lyor Cohen, Todd Moscowitz and Roger Gold launched 300 in 2015 and quickly gained recognition and influence for signing and developing future hip-hop superstars including Megan Thee Stallion, Gunna, Migos, Fetty Wap and Young Thug, among others. In 2021, the label was acquired by Warner Music Group, which later incorporated it into the Atlantic Music Group by forming the 300 Elektra Entertainment Group in 2022.
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The changes at 300 follow the departures of WMG’s CEO of recorded music Max Lousada and longtime Atlantic leader Julie Greenwald and the announcement that 10K Projects founder Elliot Grainge will be taking over as CEO of the new-look AMG at the end of this month. Sources have told Billboard that other executive departures may also be in the works during this leadership transition as well.
“The cultural impact we created in 10 years when starting from scratch is simply unmatched in the modern era,” said Liles. “We transformed our value proposition – ‘mindset of independent, muscle of a major’ – into a model for the rest of the industry to chase in this new era of music. But if there’s one consistent in music and culture, it’s that change is inevitable.”
Read Liles’ full memo to staff:
A Celebration of Who We Are Team, From the start, 300 was centered around the idea that when you intensely focus on servicing artists and the culture, good things happen. When we combined that intention with our fearlessness, creativity, and passion, it unlocked greatness and delivered impact. Next month, 300 will be celebrating its tenth anniversary of greatness and impact. I wanted to take a moment to express my gratitude to our team and share some news.
A Decade of InfluenceThroughout the past decade, we stayed true to our original vision and values. As we created the first ever label ecosystem in the industry, we celebrated Trap Queens, we Dripped Too Hard as a Lifestyle, and it was always a Hot Girl Summer, even on our Skis. We have leaders like the Bad and Boujee Rayna Bass who can switch between Pushin P and being Savage with No Promises other than excellence. Then there’s the Awwsome Selim Bouab who is Hot regardless of whether in Japan, The London, or From The D To The A. Our whole team is One of Wun. Our Bread & Butter was saying less and doing more – when others talked, we didn’t stop to ask Fukumean, we just said Good Morning Gorgeous and proved Boy’s A Liar. Whether Lydia, Kehlani, or 679 of Your Friends, we made fans evangelists. We Mixed Personalities, put in work like it’s First Day Out, and ran up Digits that made everyone Pick Up The Phone.
Then when we became part of the WMG family and joined forces with Gregg Nadel and other brilliant minds and artists across Elektra Music Group, we continued to deliver Religiously and Right On Time. As 3EE, we had The Craving to always make it Bigger Than The Song, whether it felt like we were on Holiday or between a Rock And A Hard Place.
The cultural impact we created in 10 years when starting from scratch is simply unmatched in the modern era. We transformed our value proposition – “mindset of independent, muscle of a major” – into a model for the rest of the industry to chase in this new era of music. But if there’s one consistent in music and culture, it’s that change is inevitable.
As committed servants of the culture, we know growing and empowering the next generation of leaders is a responsibility, and when the time is right, we pass the torch. As I mentioned above, at 300 we have two of the most talented, home-grown young leaders in the entire music industry, Rayna Bass and Selim Bouab. On this tenth anniversary of 300, it’s their turn to lead our 300 team into the next decade of excellence. At the end of this month, I’ll be stepping aside and departing WMG, although to ensure a successful transition, I’ll continue to consult with the team through the end of the year.
300 has never been about one person or one artist. It’s a movement united in belief in our culture and community. Personally, I’m looking forward to my next chapter where I will continue to Listen, Learn, Lead, and Love. Specifically, I will be continuing the fight to end the criminalization of hip-hop lyrics exemplified by the unjust prosecution of Jeffery Williams. And in the short-term, I’ll be dedicating all my other time to making history by electing Kamala Harris as the first African-American female President, as well as holding the Senate and winning back the House to make Hakeem Jeffries the first African-American Speaker. This chapter may be closing, but always remember: #jobnotdone.
I have full faith in the leadership of Rayna, Selim, and Gregg, and I want to extend a sincere thank you to Len and the senior leaders at WMG who have empowered our success, particularly Robert, Max, and Julie.
Thank You and God Bless, Kevin
Over the past decade-plus, Illinois native Brett Eldredge has earned five No. 1 Billboard Country Airplay hits (including the two-week chart-toppers “Don’t Ya” and “Wanna Be That Song”) and has seen two of his albums rise into the top 3 on the all-genre Billboard 200 chart.
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Thanks to his velvety, timeless vocal delivery, his annual holiday-themed Glow concerts and two albums comprised of primarily classic holiday songs (2016’s Glow and 2021’s Mr. Christmas), he’s also earned a reputation as an essential artist to help usher in the spirit of the holiday season.
On Sept. 27, Eldredge will extend that reputation with his third holiday album, Merry Christmas (Welcome to the Family), an eight-song collection of original holiday songs. Eldredge, who is managed by Q Prime South, is also turning a new page professionally, as the album will be the first released on Eldredge’s own independent label, Warm and Cozy Records. Eldredge previously parted ways with his longtime label home, Warner Music Nashville.
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“The run we had together at Warner was very special and it ended with respect and love,” Eldredge tells Billboard via email. “I am so grateful for the wonderful team of humans at Warner and the work and belief they always had for me. At the end of the day, I missed the feeling of betting on myself. That feeling when you first get to town, knocking on doors and playing anywhere they would let me in the doors with my guitar and an eager voice that wanted to be heard…I have that hunger to bet on myself and starting my own label felt like the perfect way to do that.”According to Q Prime South’s Randi Tolbert, ADA will handle distribution for the label, with Q Prime South and Q Prime New York label services handling duties including marketing, press, radio and digital.
Asked if there are plans to sign additional artists to his Warm and Cozy label, Eldredge notes that at the moment, his sights are set on releasing his own music, and he’s immersed in “making music that I love by cutting out expectations or outside pressures and anything that would influence my creative spirit. I love the freedom of it all so far…I am going to focus on that for now, but who knows what the future holds!”
Among the original songs on the new album is “Sweet December,” a duet with Kelly Clarkson (the two previously collaborated on “Under the Mistletoe,” featured on Clarkson’s 2021 holiday album, When Christmas Comes Around).
“After singing ‘Under the Mistletoe’ together, I knew there was no one else in the world I wanted to sing this song with,” Eldredge says in a statement. “Kelly’s voice has this soulful retro feeling. I’ve never done a Christmas song in this style, and I really love it.”
Clarkson adds in a statement, “I’ve been fortunate enough to record songs with Brett, go see him live, and have him on my show! He has one of my favorite voices and I will sing with him anytime, anywhere! I hope people dig ‘Sweet December’ as much as we do!”
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The vinyl edition of the upcoming album will be released Oct. 25, bolstered by Welcome to the Family: The Game, an exclusive board game printed onto the vinyl edition’s gatefold.
For Eldredge, seeing the growing success of his holiday-centered music is a fulfillment of the dreams and ideas he had as a young vocalist, inspired by the sounds of timeless holiday songs each season.
“I think the success of this Christmas business or any business is to dig into what sparked it before it mattered to anyone else but yourself,” he tells Billboard. “That’s how I feel about this whole Christmas dream that has blown up to a level I only used to dream about as a kid, sitting by the tree singing along to Nat King Cole and Bing Crosby. That whole feeling of, ‘What if one day I could make music classic and cool like this, with my own holiday original songs? What if I could make people feel the way I do right now just listening and dreaming?’ When it all gets overwhelming, which indeed any type of success or ‘business’ does, I like to imagine taking a seat next to that 12-year-old me and saying, ‘Can you believe we are doing this?’”
Eldredge also notes to Billboard that fans can likely expect to hear a variety of sounds from him in the future as he explores musical avenues.
“I love so many types of music and I am inspired that we now live in an era where there can be a home on different playlists for different styles,” he says. “It honestly makes the live shows more fun and expansive too. I have a lot of different styles and sounds in my bag of magic tricks that I can’t wait to get out to the world!”See the tracklist for Merry Christmas (Welcome to the Family) below:
1 “Merry Christmas (Welcome to the Family)”
2 “It Must Be Christmas”
3 “Sweet December” (featuring Kelly Clarkson)
4 “Warm and Cozy”
5 “The Night St. Nick Got Sick”
6 “Season of Lights and Wonder”
7 “Who Will You Be Kissing on New Year’s Eve?” (featuring Idarose)
8 “Welcome to the Family” (Reprise)
Secretly Distribution, Beggars Group and Cargo Records UK have teamed up for a new independent U.K. distribution partnership named Cargo Independent Distribution (CID). Via the new partnership, Secretly Distribution and Beggars Group will be supporting CID’s investments in technological development and new personnel, as well as providing strategic direction.
“All of us at Cargo are really excited for our new partnership with two of the most important independent music companies in the world, who continue to remain fiercely independent and committed to preserving a totally independent U.K. distribution outlet,” said Cargo Independent Distribution president Phil Hill in a release.
Cargo Independent Distribution will maintain its U.K./Ireland fulfillment relationship with Proper/Utopia and CID will continue to provide global physical, digital and marketing services to its Cargo U.K.’s distributed client roster, which includes Fire Records, Hyperdub, Planet Mu, Static Shock, and Sub Pop, who just recently transitioned their U.K. distribution to CID.
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Hill will retain a controlling interest in the new entity.
Cargo Independent Distribution will also provide physical distribution and sales support to Secretly Group and its affiliates, as well as sales representation to Beggars Group partner labels.
“The team at Cargo Records UK has faithfully championed outlier labels, artists and records for nearly three decades — including being the very first distributor to order records from Jagjaguwar — and now we have the great privilege of partnering with them in their next chapter,” said Secretly Distribution CEO Darius Van Arman in a release. “All of us at Secretly are very excited to be working with Cargo Independent Distribution, to help safeguard an independent route to market in the UK and Ireland.”
Secretly Group labels Dead Oceans, Jagjaguwar, Saddest Factory and Secretly Canadian, along with affiliates All Flowers Group (Ghostly, drink sum wtr) and The Numero Group, work with artists that include Mitski, Phoebe Bridgers, Khruangbin, Unknown Mortal Orchestra, Bon Iver, MUNA, Japanese Breakfast, Mary Lattimore, Matthew Dear, Kari Faux, Aja Monet, Duster and Syl Johnson.
Beggars Group labels XL Recordings, Young Recordings, Rough Trade, Matador and 4AD represent 48 years of music from Fontaines D.C., Jamie xx, Sleaford Mods, Queens of the Stone Age, Big Thief, The National, Lankum, Sampha, Prodigy, Adele, Radiohead, Cat Power and more.
“We live in changing and challenging times. Integral/ PIAS have handled our sales brilliantly for decades, but right now we see it as crucial that a new independent route to market is established,” Beggars Group CEO Paul Redding said of the move in a release. “We very much look forward to being part of a bright new future.”
Secretly Distribution has long worked with Cargo Records UK on U.K./Ireland physical distribution and retail marketing for much of Secretly Distribution’s distributed label roster, though Secretly Group and its affiliates All Flowers Group and The Numero Group will be a new addition to CID’s physical catalog.
In the middle of August, with precious little warning, two of the biggest artists in the world decided to take hold of the pop-music narrative. On the night of Aug. 15, Lady Gaga and Bruno Mars unleashed their collaborative ballad “Die With a Smile,” complete with a Dolly Parton-inspired music video released the same evening, as well as a surprise duet performance at Mars’ show in Los Angeles, blanketing the Friday release day with a full-court press in the first few hours of the song’s release.
As the week went on, a digital campaign began to factor in as well, and the work paid off: “Die With a Smile” debuted at No. 3 on the Hot 100 and No. 2 on both the Global 200 and the Global Excl. U.S. charts in its first week. But since then, the song has only grown, particularly around the world — this week, “Die With a Smile,” which is credited to Gaga’s label Interscope but is receiving a helping hand from Mars’ label Atlantic, spends its second week as the biggest song in the world, topping both of Billboard’s global charts midway through September. And that worldwide success helps earn Interscope Geffen A&M senior vp/head of pop/rock marketing Adrian Amodeo the title of Billboard’s Executive of the week.
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Here, Amodeo, discusses the initial rollout of the song, how Interscope and Atlantic worked together and how the Interscope global strategy — which has also seen huge success with Billie Eilish and Karol G, as well as with BTS’ Jimin — has helped the company reach new heights around the world. “We don’t want to just put out records in other territories,” Amodeo says. “We want to build real campaigns that are extensions of our domestic campaigns and also build into local cultures and communities on the ground and online.”
This week, Lady Gaga and Bruno Mars’ “Die With A Smile” is No. 1 on both of Billboard’s global songs charts for the second straight week. What key decisions did you make to help make that happen?
First off, it was an enormous team effort across two amazing artist teams. We have two of the most important pop stars on the planet who wrote and recorded an absolutely incredible song and were involved in every detail of the rollout. We knew it was going to be a special moment once the song came out, but also knew we had to build a campaign that honored two superstars and their incredible artistry. We wanted to show the power of these two stars together and show that Gaga and Bruno are at the top of the game, with a ballad, in the midst of what has been an incredible summer of pop music.
When we first heard the song, Kirsten Stubbs, our co-head of digital marketing, flagged that Bruno happened to be opening the Intuit Dome in Los Angeles around the time the song was coming out, so we immediately put the wheels in motion to make a performance be a key moment in our campaign. The genuine connection the world saw between the two of them, and the content we were able to capture and spread, really set the tone for the entire campaign. It was lightning in a bottle with the release of the song, the video and the performance that night. But we knew we had to keep building a runway for the song and eventize the release around the globe, so we treated it like an album rollout, not just as a single.
The song debuted at No. 2 on both charts, before ascending to the top spot a week later. What went into such a huge global impact right out of the gate?
Our international team has been so integral — every territory made it a priority to make this the biggest song in the world. Before the song came out we were fortunate to have all of the label heads from around the globe into our studio where we unveiled our plan for the track. We were able to play the music and explain our global vision, but more importantly we had Gaga and her team in the room to be part of those conversations with us. It really energized everyone to be part of a process like that. The subsequent local campaigns and partner support our teams have put together have been really amazing.
I’m proud of what the team pulled off for the fans around the world, too. The out-of-home campaigns became important fan experiences, anchored by an eight city storefront experience that paid homage to the song, the artwork and the video. Combined with all the billboards around the globe, it just felt huge — and, more importantly, we got it to travel online. A great job by Kevin Rankin and Jessica Staats for driving that with all the teams around the globe. The themes of the song have also helped build an incredible TikTok world for the song, which has been fun to watch and really helped take it to another level globally. Our ability to conceive of and execute such a complex global campaign is really a core strength of Interscope and Universal Music Group.
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This music video also had a big impact, with its throwback theme and Dolly Parton-esque vibe. How important has it been to the song’s success, and what do you see as the role of the traditional music video these days?
The music video has been so important, if not the most important part of this campaign. It was co-directed by Bruno, which continues to exemplify his artistry and shows the trust that Gaga put in him as a partner in this whole process. Again, that genuine connection can’t be overstated. Beyond being an incredible video, it also inspired every inch of our creative. The single art, the outfits they wore on stage at the Intuit Dome, the global out-of-home; everything has intentionally been cohesive and respectful to the aesthetic world built by Gaga and Bruno. The music video also kicked off a powerful viral moment with the fans recreating Gaga’s dance and inspired fans to recreate the looks online, at shows, and at the clubs — our influencer marketing team was quick to identify this and amplify it globally. It has been so amazing to see and we fully expect Gaga-Bruno to be one of the most seen Halloween costumes this year. We’re already getting ahead of that.
Gaga and Bruno are two of the biggest superstars on the planet, and are signed to different labels. How did this song come together, and how did the marketing plan work across two companies?
The making of the song is Gaga and Bruno’s story to tell, but it’s very well documented that they have wanted to work together for a long time. [Interscope chairman/CEO] John Janick’s relationship with Bruno goes back for many years and the trust that Bruno and Gaga put in John can’t be overstated. [Atlantic Music Group chair/CEO] Julie Greenwald was an absolute force as well. Her energy and passion for the song helped drive both teams to be great. With so many relationships and teams in place we were truly able to hit the ground running. We spent about six weeks planning the song together and the relationship was great with all of our departments working hand in hand, on Zooms, calls, texts, DMs, voice notes and faxes. We’re still going.
Alongside Billie Eilish’s “Birds of a Feather” and Karol G’s “Si Antes Te Hubiera Conocido,” Interscope has three songs in the top 10 of the Global 200, and those three make up three of the top five on the Global Excl. U.S. chart. What is IGA’s overall global strategy and why are these songs working so well around the world right now?
We’re very fortunate to work with incredible artists and incredible partners. It starts with the teams, but the vision is always global from the start. We don’t want to just put out records in other territories. We want to build real campaigns that are extensions of our domestic campaigns and also build into local cultures and communities on the ground and online. Our teams literally stay across all the creative, creator campaigns and local moments to make sure it’s a unified creative marketing rollout with a local touch. The way we’ve also been able to integrate partners like AmEx and Sony into our global rollouts has been a testament to the 360 approach we take globally.
Jimin’s “Who” is also in the top 10, by the way, and I can’t emphasize enough the importance of our relationship with HYBE. We are thrilled with our new HYBE x Geffen global girl group, KATSEYE. Building a global girl group with such an important partner has been an incredible undertaking, but a big part of our vision for the future. It’s been amazing to see them grow exponentially on streaming and socials as PopStar Academy: KATSEYE, the eight-episode series that tracks their journey, keeps growing on Netflix. They’re currently in Korea on a huge promo trip that will take them to Japan and the Philippines, too.
Where do you see the biggest growth opportunities for Interscope around the world right now?
Our relationship with our artists continues to be our biggest opportunity. What we can bring to them in building their global brands is our core strength, so we must continue to emphasize and build what we have, while reinvesting into new strategies. Direct to consumer and [customer relationship management] strategy is so important, and we continue to build those globally with our partners at Bravado and Fame House. We’ve built a company culture where it feels like one team with them, and that’s so important in helping to create global artist brands. Our collective ability to communicate with the fans directly around the globe is critical. We’re really focused on that, while we also continue to strategize emerging markets.
Last Week: How Sabrina Capped Her Rise to Stardom With ‘Short N’ Sweet’
09/12/2024
A tense war of words and a slew of lawsuits have ensued as the K-pop giant and CEO tangle for control of the popular girl group NewJeans.
09/12/2024
During the months-long feud between HYBE and NewJeans creative director and former ADOR CEO Min Hee-jin, the Billboard 200-topping girl group has largely remained silent. But early Wednesday morning (Sept. 11), group members Minji, Hanni, Danielle, Haerin and Hyein made their voices heard.
In a since-deleted post on their Twitter account, the group shared a YouTube link that led to a livestream on a no-longer accessible YouTube account named “nwjeans.” During the livestream, the five members spoke for about 30 minutes in Korean and English about their situation, expressing anxiety over their professional futures, worries about continuing to work under HYBE and revealing previously unheard stories.
Apologizing for the “sudden meeting,” all five members of the K-pop girl group sat in a nondescript room with notebooks, papers and iPads during the livestream. The youngest NewJeans member, Hyein, 18, spoke first, explaining that staff members they trusted (presumably also under or previously under the HYBE/ADOR umbrella) helped set up the location and stream but that it was the quintet’s choice to speak out.
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After that, Haerin noted that media coverage revolving around NewJeans’ situation became invasive when their private medical records and videos from their days as HYBE trainees leaked on the internet — four of the five NewJeans members were minors under the age of 18 when they debuted in July 2022 — but that when the group, alongside Min and their parents, raised concerns to ADOR parent company HYBE, the K-pop giant took no action.
One of the most talked about moments online among K-pop fans came early in the broadcast, when Hanni shared a story about a time when, while at the HYBE building to get her hair and makeup done, an unnamed HYBE LABELS group passed her with a manager. According to the Vietnamese-Australian singer, after initially greeting one another, the manager told the members of the other group to “ignore her.”
During the livestream, NewJeans members also expressed worries about the ADOR label’s inner workings following Min’s ouster as CEO.
In reference to ADOR’s new legal battle with Shin Woo-seok, the director of NewJeans’ “Ditto” and “ETA” music videos, Minji said it was “frightening” to see their work compromised. The director has alleged that ADOR targeted him for uploading “director cut” versions of NewJeans music videos and other content, which he claimed to have permission for, on his personal YouTube account.
Following ADOR’s removal of those videos, the label shared a statement on Sept. 4 that it would do its best to “ensure that the deleted NewJeans content can be uploaded to ADOR’s official channel in the future,” as reported by the Korea JoongAng Daily. That report also noted ADOR’s follow-up statement that only the “director cut” music videos were requested for removal — not behind-the-scenes clips starring the members that have racked up millions of views — while claiming it was advertisers who wanted the “director cut” videos removed.
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“Just like that, the content that we released solely for our fans, for our Bunnies, was instantly erased,” Danielle said in English about the incident. “I truly can’t understand why anyone would do this to a group or just anyone in general.”
Minji added that ADOR’s “new management” would keep production and management teams separate, like other HYBE LABELS. Under this arrangement, which saw Min being restricted only to production, and not being part of the discussions around the group’s overall management strategy, the group members said they were apprehensive over how they could continue as the NewJeans in its current form.
“Personally, the way that ADOR used to run was the business management and creative production was not separated…factors that played and worked in harmony with each other,” Hanni said in English. “It was our way of working and it was our CEO’s way of producing NewJeans’ content which a lot of you were able to enjoy and appreciate. But now that she’s no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work.”
On Aug. 27, HYBE announced that Min would step down as ADOR CEO and shared in a statement to Billboard that ADOR “will restructure to separate its production from management — a multi-label practice that has been standard across all other HYBE labels but was previously not implemented at ADOR.”
Haerin also claimed that NewJeans learned of Min’s dismissal through the news instead of through their company, saying it “made it clear to us that they don’t respect us at all” and led them to feel that statements about HYBE’s plans for NewJeans were empty promises. (In April, HYBE shared a statement with Billboard claiming that the company “will continue to provide attententive [sic] mental and emotional care to the company’s artist NewJeans…the company will meet legal representatives of the respective members as soon as possible to discuss the plan to protect the act.”)
Beyond these specific incidents, the five NewJeans members also spoke at length of their worries about losing their team identity and wariness that HYBE has their best interests in mind while insisting that Min return to work with them.
“Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways,” 19-year-old Danielle said. “Putting our sincere effort into something is only possible because of the people that we’re working with have trust in each other and have that same vision.
“Min Hee-jin is not only the person that produces our music, but someone who makes NewJeans who we are; she discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct color and tone, and this was created with Min Hee-jin. She is integral to NewJeans’ identity and we all feel that she is irreplaceable.”
Hanni later spoke to HYBE’s alleged directive that Min wrap up all her creative work in the next two months following her dismissal as CEO.
“Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation and we are not going to follow HYBE’s every order blindly,” Hanni said in English. “We are more than well aware that this is getting in the way of our work and that we should be treated much much better than how we are right now. And it’s very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Min Hee-jin.
“Despite her being in the midst of all this current legal conflict, she’s expected to plan and creatively produce our future endeavors in just only two months, which I personally think makes no sense at all. We don’t want to hear all the empty words of how they’re going to help us continue to work with Min Hee-jin. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before.”
NewJeans’ eldest member, Minji, 20, ended the livestream with a direct message to HYBE chairman Bang Si-Hyuk, saying, “We hope chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th.”
HYBE has not yet responded to Billboard‘s request for comment about the livestream.
The now five-month-long conflict began in April, when HYBE launched an audit of ADOR and asked Min to step down as CEO. The K-pop giant later reported Min to police, alleging the executive had committed a breach of trust. That led Min to respond by holding an emotionally charged press conference during which she denied claims that she had usurped NewJeans’ management and doubled down on claims that HYBE subsidiary BELIFT LAB had plagiarized NewJeans with its own girl group, ILLIT, and that another HYBE subsidiary, Source Music, had broken its promise to debut NewJeans as its first girl group, among other claims. Min was subsequently sued by both BELIFT and Source for defamation due to those comments, riling up several K-pop fanbases against her.
In May, a court ruled that Min could legally stay in her position. But in the past month, a former female ADOR employee accused Min of covering up her reportsof sexual harassment from a male superior. While HYBE’s own internal investigation reportedly concluded that the incidents didn’t constitute harassment, Min allegedly verbally abused the employee for speaking out — a claim that Min has denied, instead alleging that the issue arose from the former employee’s job performance and salary negotiations.
On Aug. 27, HYBE announced that it had appointed an ADOR director with human resources expertise, Ju Young Kim, as the label’s new CEO, and that Min would step down from her role but remain as an in-house director.