- 2 weeks ago
What really makes a song go viral? And how do labels make them a hit? In this episode, Billboard On The Record sits down with the CEO of Atlantic Records, Elliot Grainge, on the first anniversary of his appointment to the job to talk about the label and the forces that are shaping the modern music industry, from the rise of TikTok and the aftershocks of COVID to the way new audiences are discovering music in real time. Elliot shares how he is building a new team at Atlantic, the genres that inspire him, and why artificial intelligence could dramatically change how artists are found and supported.
Love what you hear? Follow Billboard On The Record on Instagram, Apple Podcasts, Spotify and Youtube @billboard so you never miss an episode.
Billboard On The Record is a podcast in partnership with SickBird Productions.
Love what you hear? Follow Billboard On The Record on Instagram, Apple Podcasts, Spotify and Youtube @billboard so you never miss an episode.
Billboard On The Record is a podcast in partnership with SickBird Productions.
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MusicTranscript
00:00:00Welcome to On The Record, a new music business podcast from Billboard and Sickbird Productions.
00:00:05I'm your host, Kristen Robinson, and today we are joined by a very special guest,
00:00:10Elliot Grange, CEO and chairman of Atlantic Music Group and founder of his own label, 10K Projects.
00:00:16I wanted to have him on to chat because Elliot became the CEO of Atlantic almost exactly a year
00:00:21ago today, a move which shocked many in the music industry when it happened. Elliot was just 30
00:00:26years old at the time and hadn't spent that much time working within the major label system before
00:00:30his hiring. Instead, he cut his teeth building his own independent label, 10K Projects, working with
00:00:35artists like Ice Spice, Trippy Red, and Surfaces. His first foray into the major label system was when
00:00:41he sold a stake in his company to Warner Music Group in 2023. But if any 30-year-old could take
00:00:47on the CEO job at a label as big as Atlantic, it might be Elliot. That's because he's been raised
00:00:52in one of the most storied music industry families in history. His father, Lucien Grange, is the CEO
00:00:58and chairman of Universal Music Group, the largest major music company in the business and a competitor
00:01:03of Warner Music Groups. And Elliot also has other industry ties. His grandfather ran a record shop,
00:01:09his cousin was an early champion of Amy Winehouse, and his uncle founded Ensign Records, home to Thin
00:01:14Lizzy and Steve Miller Band. In just a year at Atlantic, Elliot has already put some impressive wins
00:01:19on the board. He propelled Ordinary by Alex Warren to the top of the Hot 100 and Pop Airplay charts.
00:01:25He's also broken other songs, like No One Noticed by the Marias and Ozzy Zom by Ed Sheeran, and many
00:01:30more. Plus, Atlantic has the number one album on the Billboard 200 this week and last week. So last
00:01:37week it was 21 Pilots that was in the top spot, and this week it's Cardi B at number one. So it felt
00:01:43like the perfect time to have Elliot on and to review his first year at Atlantic, and also to talk about
00:01:47the future of record labels at a time when the industry seems to be changing very fast. But before
00:01:53we get started, as a journalist and a host, it's very important to me to disclose that previous to
00:01:58my role at Billboard, I did work at 10K Projects starting in spring 2020. But weirdly, because of
00:02:04the COVID lockdowns, I worked entirely remotely, so this is my first time meeting Elliot in person.
00:02:09It's a real full circle moment for me, and kind of crazy that that happened. But enough from me,
00:02:14let's go ahead and bring in our guest this week. Please welcome to the show, Elliot Grange.
00:02:25Welcome, Elliot, to On The Record. Thank you so much for being here.
00:02:27Thank you for having me.
00:02:29I love that we're doing this today because back in the day, about five years ago, at the height of
00:02:34the pandemic, I did actually work at your label, 10K Projects. But I didn't get to meet you in person
00:02:41because of the weirdness that is COVID lockdowns. So this is a fun moment of meeting for the first
00:02:46time five years later.
00:02:47You promised me five years ago, when we didn't meet, that if we were to ever do a podcast together,
00:02:55you would ask me easy questions and you would make me look very good.
00:02:59Yes, I remember promising that. Yep.
00:03:02I wanted to get into this by talking about 10K. I'm wondering for you as the CEO of the company,
00:03:11what was it like actually running it during the pandemic? What kind of things had to change?
00:03:16It was a very interesting time. We were having a lot of success with some artists.
00:03:23So from the artist and song breaking perspective, it was a really, really good time. It was a very
00:03:30difficult time because so many of us who loved coming into the office, we weren't able to do so.
00:03:36Yourself is a good example. We weren't able to be with each other. I think that was one of the
00:03:41real stresses of the pandemic. So I remember our office building, we weren't able to actually
00:03:47physically go into the office. They had closed the building down.
00:03:52Yeah.
00:03:52So I think that would be one of the stressors. I think one of the good things that happened is
00:04:00we as an independent label, super nimble, we were able to pivot and we were able to see that
00:04:07people weren't in their cars as much. They were at home. They weren't necessarily at schools or in
00:04:14the office, consumers. And so we were able to figure out that they were online, they were on TikTok,
00:04:21they were on Instagram. And so we were able to use some of the savings that we had from our
00:04:29office. We didn't go to the office. We weren't paying the rent. And we invested 100% of those
00:04:34savings into influencer marketing, which we'd already been doing before. So we were really able
00:04:42to press that. And as a result, we had tremendous success with some of the, I think I'm biased. I
00:04:50think they were some of the greatest songs of the pandemic with Surfaces, Sunday Best, we had
00:04:55Salem Elise, Matt at Disney, we had Peachtree Rascals. We were able to help put some great music
00:05:02out that got a lot of people through some tough times.
00:05:05I mean, it's kind of crazy to look back at that time because TikTok was just taking off. It sounds
00:05:10like y'all were already doing some influencer marketing there beforehand, invested more into
00:05:14it during the pandemic. At what point did you end up coming into contact with Homemade Projects,
00:05:18which is Zach Friedman and Tony Talama's company?
00:05:21Yeah, my partners. They're the greatest. We crossed paths in, I would say, middle of 2016.
00:05:302015. And they were managing a couple of influencers, one of the people that they were managing, young,
00:05:39very young guy. And I sort of watched how they moved when it when it came to seeing the power
00:05:48of influencers channels, and how they could monetize their channels. And one of the mediums
00:05:55that they would look at was through music. We noticed each other. You're doing that. That's
00:06:00pretty cool. We're doing this. And we stayed, we stayed super close. And then about a year later,
00:06:05they bought an artist to me that they were managing that we signed. Great artist.
00:06:10Who was it?
00:06:11And then it was ours called Austin.
00:06:13Oh, yes. Okay. Austin without the, it's like A-U-S-T-N.
00:06:17We had to, we had to change the, we had to change the name and the song that there was a great record
00:06:22called Inbetween. And he was very, very young, great, super talented, very good songwriter.
00:06:27So we had some initial success there. And then afterwards, they called me and they said,
00:06:33there's another great artist that we really want to do a partnership with you on. A great
00:06:38duo called Surfaces based in Texas. And so we signed, that was the first real big, big success
00:06:45that we had with them. And I just said to them, you guys are, you guys are so, you're so brilliant.
00:06:53We should do this instead of you just managing, we should do this in the form of a partnership.
00:06:58And so I gave through 10K, I gave Zach and Tony through their company, homemade record,
00:07:04homemade projects, the venture, which ended up, we ended up merging, consolidating.
00:07:10And as part of that consolidation, Zach and Tony stayed on and essentially became co-presidents
00:07:16of the company.
00:07:18Before homemade kind of came in, or I mean, even during that period, you were signing a
00:07:22lot of SoundCloud rap. I wasn't in the industry at the time when you started doing that, but
00:07:27was there a lot of competition in that space to sign SoundCloud rap or were you one of the
00:07:31earliest people on that?
00:07:33I'd say my junior, senior year of college, 2015 era, all of the kids in college were discovering
00:07:44new music. Everyone wants to be first. And the platform that everyone was discovering
00:07:49the music from was SoundCloud. So I sort of became infatuated with it. You'd look at the
00:07:53charts, you'd look at what was hot and trending. And so it became a very important website,
00:08:02a platform for me to discover artists. Were other people looking at the artists on SoundCloud?
00:08:10Yes. So I think Billie Eilish was one of the artists that started to cultivate her audience.
00:08:15I know Post Malone was. It was a great platform, still is, where artists could go and test with
00:08:22their fans, put music up, put snippets up.
00:08:24Yeah.
00:08:25Not necessarily released on Spotify or other DSPs or Apple Music.
00:08:30So there was competition at that time for signing those.
00:08:33Without question.
00:08:33Yeah.
00:08:33Without question.
00:08:34So how did you beat them out as someone who was so young at the time, still in college
00:08:38when you're working on starting the label, right?
00:08:41I grew up as a kid loving punk rock. I was a very nerdy kid, still am, living in London.
00:08:50And I loved the clash. I loved the sex pistols. I loved hearing the stories of, if you were
00:08:57at a concert in the Hammersmith Apollo in 1977, if you weren't, didn't get a drink thrown on
00:09:05you or someone spat on you in the mosh pit at these sort of punk rock concerts. To me, that
00:09:12was really cool. And I could see something forming through the sort of, I'd say almost
00:09:20the subculture of SoundCloud, where you had these artists, controversial artists like
00:09:26XXXTentacion. And you had artists that were incredibly talented, part of this sort of subculture
00:09:35of SoundCloud. Trippie Redd was one of them, which was the first artist on SoundCloud that
00:09:39we sort of worked with. And it reminded me when I went to some of the shows, it reminded
00:09:44me, it was very, very early. It reminded me of, the energy reminded me of what the stories
00:09:49I had heard from that mid to late 1970s, that sort of anarchy, punk rock, that real youth
00:09:55culture energy. And for whatever reason, as someone who had just finished college, that
00:10:03was obsessed with the music industry and always wanted to find the next thing, I was very drawn
00:10:08to that.
00:10:09So energetically, sonically, some of those copyrights today, they're special records,
00:10:15they'll be songs that our kids and our grandkids will be listening to one day. So I was infatuated
00:10:22by that movement at the time.
00:10:23But how did you beat out some of the more established players who are also going after
00:10:27your Trippie Redds of the world?
00:10:29I would say a lot of the executives, and we'll sort of go through how the business has historically
00:10:35worked and how it's sort of moving now. They weren't looking towards the subcultures of
00:10:41SoundCloud. They just, they weren't. And so I think a lot of entrepreneurs, a lot of young
00:10:49people, they're the ones that are really pushing the sound forward.
00:10:55And as much of, as incredible amount of respect that we have as an industry for some of the
00:11:01incredible executives at the top of their pyramid, I think it's the youth culture. I think it's,
00:11:08I believe it's a lot of the younger people in the company that are able to sort of smell what other
00:11:12younger people are listening to in real time. So I think I was poised, I was very fortunate where I could,
00:11:18I could see that. And it was very difficult for all these artists to get real attention from some
00:11:27of the other labels. There weren't that many independent labels around that were looking
00:11:32in that, in that system, in that genre in 2016. So I was very fortunate. I think, I think it was
00:11:39the right, I was fortunate. I think it was the right time and the right place for 10K.
00:11:44And you're talking about the importance of being a young person and being able to sense
00:11:48where culture was moving. I often think about how music is such a young man's game,
00:11:55oftentimes, and you're still very young. I'm wondering, your father has been able to age
00:11:59really gracefully, continue to have success, and continue to have perhaps the most success he's
00:12:05ever had. Have you learned anything from him about what it takes to kind of surpass moving from
00:12:10just being that young person who's young and eager to making it to the next level as an executive?
00:12:16I can't speak for him. But some of the things that I've noticed around his, I would say,
00:12:24how he manages is he really respects the opinions of a lot of his leaders and a lot of the people
00:12:32around him. So to your point, who is closer? Who has the best understanding of what the younger
00:12:44generations want to consume? It's the younger generations. And I think he's wise enough to
00:12:50know that these people that are going to pick who the next generation want to listen to, that's going
00:12:56to be a younger generation. So I think it's similar to what we do and what a lot of the smart people do
00:13:03is you've got to back that generation. You've got to back the younger people, as you say. I agree
00:13:10with you. I think it's a young man's game, a young person's game.
00:13:14Not only do you have to pick the right talent to sign, you also need to pick the right talent in
00:13:18your building, your research A&Rs, your A&Rs who can pick out the right stuff.
00:13:22Couldn't agree more. It's about the team. One thing that we did really well, we continue to do
00:13:31really well with 10K and now at Atlantic, is we've put together an incredible team. We're a team of
00:13:38fans, entrepreneurs, winners. But ultimately, the one common theme that we all have is we love
00:13:45working with artists. We like to back artists in any form that we can. Every company can say,
00:13:54we've got the best team and experience. And 100% experience is very important. But
00:14:01I'd love for you to come up to the office at some point and see it. There's a really special energy
00:14:09that we have of just people that love music, that love working for artists.
00:14:16And I guess going back to that SoundCloud rap bit, that was such a scene, but it was on a
00:14:22online platform. Of course, there were a lot of people in SoundCloud rap who were from similar
00:14:26areas. You saw a lot of South Florida going on there. But I mean, Trippi is from Ohio, right?
00:14:32Yes. 6ix9ine was from New York. You have people from all over. Do you think that local scenes are
00:14:39still a thing in 2025? Or have local scenes migrated to just niche online spaces?
00:14:47Local scenes are and have been historically incredibly important. They will continue to be
00:14:54important. I think sonically, you can taste something that came out of Southern Florida
00:15:01from 2014 to 2018, 2019. You can taste that moment. Maybe now today, less so. I think after
00:15:11the pandemic, it really pushed artists to, instead of start their first two or three concerts, their
00:15:21shows in the local venue, 100, 200 cap. I think now what they're doing is they're waiting for
00:15:30the larger cap to try their first concert. And they're able to get there by building a fan base
00:15:38online slightly quicker than they were before.
00:15:40When you don't do your 10,000 hours in the tiny venues, and then you get put on a giant stage,
00:15:45it's very, very intimidating. And a lot of artists are not up to it. There's at least a large learning
00:15:50curve for starting in those larger venues. But most things are taking place online post-pandemic.
00:15:55And the pandemic quickened that movement online.
00:16:00It's been great. And it's also been not so great. Where artists who are having incredible
00:16:08streaming moments and online moments, they weren't able to actually touch the fans. They
00:16:12weren't able to go out for that sort of 12, 18 month period of the pandemic worldwide.
00:16:17They weren't able to go and perform their song and touch the fans. And so I think that was very,
00:16:22very difficult. There was this time period of early TikTok, which I think we've exited now,
00:16:27like 2019 to maybe 2023-ish, where you were seeing a lot of one hit wonders, a lot of artists that were
00:16:35popping off that didn't have any movement before, which is very exciting. But then exiting the pandemic
00:16:40must have been quite a challenge for a lot of these artists, given they'd never made that fan
00:16:44connection in person. They had their moment on the algorithm. And I would say some of them
00:16:49probably weren't ready to capitalize on it. I forget who told me this, but they were talking
00:16:54about how you never want to have your viral moment too early. You want to always have
00:16:58a bunch of songs ready to go as soon as it happens. And I think that there was this weird period where
00:17:06people were trying things out online. You even saw artists performing unfinished songs on TikTok
00:17:12that would do well. And then they would get into that challenging space where they have to go record
00:17:17it and try to be as faithful to their random video as possible. But yeah, I feel like we've exited
00:17:24that time period a little bit.
00:17:26If you look at the artists that are now established over the last sort of 12, 18 months, if we look at
00:17:35the Sabrina Carpenters or the Chapel Rhoans or the Marias, these are artists that talk about 10,000 hours.
00:17:47They've been releasing music. They were signed, I think, almost five, six, seven years ago.
00:17:53And they were releasing music and touring before the pandemic towards releasing music
00:18:00during the pandemic. And then afterwards. And if you look at their success now and their
00:18:07consistency and their fan base, it shows you now it's taking several years of artist development
00:18:16for the fans to really connect and take artists to that top tier. So I think what a big focus that
00:18:24we're trying to do at the moment is really, really stay true, be very patient with the artist
00:18:30development. It can take several years and that's okay.
00:18:33Yeah. I mean, I imagine that makes it really hard to know when it's a right time to cut
00:18:39an artist where it's not working anymore or when to keep investing. What are those kind
00:18:44of conversations that y'all are having inside of Atlantic about how long should you give an
00:18:49artist to develop and how many resources should you give them while they're developing, I guess?
00:18:54So I think the partnership with the artists, it's very, very important. And we as a record
00:19:01label, we have a responsibility to be very patient, to support, not just to fund, but to actually
00:19:07support on a sonic, on a creative level and be very, very patient with artists. The answer
00:19:13is it should take as long as it needs to. If not, every artist is going to break to that
00:19:18level of superstardom. But we have a responsibility if we're going to get into business with an artist
00:19:28to be the greatest partners that we can for them.
00:19:30For major record labels now, is it important to also pursue kind of that middle tier of artists
00:19:36as well? Not just being, I often hear when talking about majors, people will be like, you know,
00:19:40we're in the business of superstars. And that's true. But given we now have a much more fragmented
00:19:47music market, is there also increasing value in having kind of those middle tier acts that
00:19:54have a strong fan base, but will never be probably a radio number one?
00:19:58So it's funny, this middle market, I think it's always been there. I think it's definitely got
00:20:03larger. If you think about the macro industry and where we are, you have a million tracks being
00:20:08added to DSPs every day. So you have several hundred thousand to a million new tracks added.
00:20:17On a weekly basis. When you look at that, you're 100%, you're going to see so many layers and tiers
00:20:24of artistry. From songs and test songs to the A-list stars that are recording and releasing.
00:20:33And then that sort of is what you define as that middle tier. The answer is 100%. See, I look at the
00:20:39middle tier and our team looks at the middle tier as that may be middle tier today with a niche fan base,
00:20:45but with the right partnership and the right time and the right support. Could an artist from that
00:20:50middle tier that we partner, so the answer is yes, we should partner. Can that be, does that artist
00:20:55want to be in the superstar category? And the answer is 100%. We're finding a lot more artists in that tier
00:21:03waiting, helping support, helping put the plans together. The goal is to get them to the superstardom.
00:21:10I find Atlantic to be so interesting because you're a very forward-thinking, very tech-focused, very data-focused
00:21:16label executive, but also you have come into Atlantic, which is a very storied, older label.
00:21:22So I'm wondering, have you examined the history of Atlantic much and thought about that and how that
00:21:29informs your strategy today? Tell me a little bit about that transition.
00:21:34It was started by an entrepreneur, Turkish entrepreneur, Ahmad Erdogan. And he was in many
00:21:43ways a very, he was a, he was a huge disruptive force in the music business. Some of the artists that he
00:21:51signed, how he viewed the business. And so I think if you look at the history of Atlantic from the very,
00:22:00very beginnings of it to where it is today, it's been a company that has always backed entrepreneurial
00:22:06spirit because that's where it's come from. I never viewed Atlantic, even when we were competing
00:22:12with Atlantic, I never viewed them as a, an old school brand. I always viewed Atlantic as, um,
00:22:21a storied, incredible, incredible label. I think it's personally, as a fan of music, I think it's the best,
00:22:29most diverse label of genres of artists of all the labels. Um, so when you marry that history and
00:22:37that entrepreneurial spirit, which we've got now, obviously, um, the greatest team, great entrepreneurial
00:22:44team, we start to see magic happen. And so it's been one year. Um, we, we, we've had to go through
00:22:52a lot of restructure at the company, difficult restructure. Um, but in the last 12 months,
00:22:58I can't think of as a fan of the music industry and as a fan of Atlantic, I can't remember the last
00:23:05time a record label has had such quick success, um, with such a great variety, different variety of
00:23:13artists. Yeah.
00:23:14With, uh, between Raven Lanay, Alex Warren, the Marias, uh, some incredible success with Charlie
00:23:21XCX. We've just, we're in the midst of rolling out the albums now, um, with Cardi B and Ed Sheeran,
00:23:2821 pilots at the moment. So just obviously I'm biased, but I think it's the most incredible,
00:23:35incredible brand in all of the recorded industry in the world. We're very, very, very lucky to work,
00:23:41um, in this industry and to sort of help bring back some of that entrepreneurial energy to that,
00:23:50that incredibly historic storied brand. I think we're seeing great success and I hope to continue
00:23:57showing even more success.
00:24:00If you could walk me through kind of what your first few days were at Atlantic, if you can think
00:24:06back to a year ago, what were some of the things you immediately thought, okay, I need to reshape
00:24:11this part of the company to be a little bit more in line with what I'm thinking. Um, you know,
00:24:16can you walk me through what immediate changes you kind of noticed that you wanted to make?
00:24:20Two things is we had to examine, um, why, um, to your point earlier, why the, the, the Atlantic
00:24:30perhaps, um, have, have felt a bit tired. Now, I don't think it did, but a lot of people may have,
00:24:38may have felt that way. Um, you had an incredible leader before formidable character who had been
00:24:46there for, for, I think almost two decades, um, incredible success. It was very, very difficult
00:24:52for us to examine, not necessarily what the issues were, but how we could build on how good the company
00:25:02was and how we could make it better. And so we had to look at the, um, the most important thing
00:25:09about record company is the artists of the artists being serviced. And so we had to take some very,
00:25:15very difficult decisions. We had to, we had to downsize some of the staff so we could reinvest back
00:25:21into the artists. And so that was really what we were able to do. Very, very, very difficult to do
00:25:26that. We've got some, some incredible people we had to, we had to say goodbye to. If we didn't do
00:25:32that, we wouldn't be able to, as a record label, efficiently allocate our resources to our artists
00:25:39partners as well as we could do. So I think that was, that was something that was very difficult,
00:25:44but something that we had to do. Got it. So you invested some of the money from, uh, staff cuts
00:25:50into more signing new artists or investing in the artists that you had on the roster? Sure. Okay.
00:25:55Got it. And also I'm curious as the restructure continues to take place, um, where are the areas
00:26:02that you are most interested in investing in on the staff? Is it digital marketing? Is it
00:26:07research in our, what kinds of things are you looking at? We sold half of the business prior to
00:26:12our team moving into Atlantic. We'd sold half of the company 10 K to one of music group, which is the
00:26:18parent company. And so what we were able to do after we took over Atlantic was move
00:26:2510 K into the Atlantic music, into, into that group. It's Atlantic. It's 10 K 300. 300.
00:26:32And we're adding a couple more brands. Is Electra still a thing or? Electra absolutely is still
00:26:37a thing. Um, we were, we were able to consolidate a lot of the incredible teams together. And I think
00:26:45part of the consolidation with 10 K and having 10 K move into that, that collective of all the
00:26:53Atlantic brands, it, it, it allowed us to bring our, I think, best in class influencer marketing,
00:27:00digital marketing department. It allowed us to bring, um, an incredible, incredible, super young
00:27:05adaptive research team. So these are the tools that, that, that, that, and these are the teams
00:27:11that we've really been able to bring in to this storied brand. We're seeing incredible results
00:27:17already in the first year. There were some wins that you guys put on the board immediately,
00:27:20but also I'm sure there are some people who were like, well, but are we sure it wasn't
00:27:24under, you know, stuff that Julie Greenwald set up or something? When do you feel like
00:27:28was that dividing line where you felt like you could fully claim, like, I really feel
00:27:33like I set up these hits. I feel like my team did this in the last year.
00:27:37Um, so I think it was a really great, um, collaboration between the sort of the new team that were coming
00:27:43in and also the previous team that were exiting. I think both teams were really able to hold hands
00:27:49during the, um, uh, the handoff period. So I think that there's, um, a lot of shared, uh, success
00:27:58with outgoing and incoming team with some of those early wins. Um, it's very, very hard to say.
00:28:04I think some of these artists that, that, that we will, um, that we've had, we've seen great success
00:28:09this year. They're incredible artists. Would have, they had the same success with the, with the
00:28:14previous regime or another company? I think a hundred percent. I think they're incredible artists.
00:28:19I don't really look at it like that of who should get the credit for it. I think if an artist is
00:28:24doing well with a specific label or a specific team, not worth looking into it. I think it's great.
00:28:32It's excellent. You keep going, you keep doubling down. You work with that. Um, as we said before,
00:28:37it takes several, it takes several years to, to, to really be on that journey, um, for an artist to,
00:28:44to hit that, that moment. Alex Warren, he's, he's been in it for, for a few years. He just won
00:28:50a best new artist at the VMAs. Um, we, we, we see a lot of excitement for him in the, in the long
00:28:58term as well. Um, would have Alex made it with another team? I think a hundred percent. I think he's
00:29:05brilliant. Yeah. So are you one of the people that believe that kind of like good talent will
00:29:10always rise to the top? Absolutely. Okay. Very, the team is very important. An artist has to have
00:29:16an excellent management team. They've got to have, they've got to have the right people
00:29:21internally guiding them. But I think it's a very important partnership, that label artist
00:29:27relationship and partnership. I think it's incredibly important. The trust is important.
00:29:32Um, record labels can, can, can pull levers and internationally and domestic, uh, through, you
00:29:41would say old school mediums and also new school mediums like digital marketing, old school mediums,
00:29:45sometimes being domestic terrestrial radio. But there are things that the labels can do that really
00:29:51help artists find their audience. I think that's our job. Can you walk me through creating a hit?
00:29:58Like let's use ordinary by Alex Warren as an example. It's been at the top of the billboard
00:30:02charts most of the summer. Um, what are the steps along the way to getting it to radio?
00:30:09He's extraordinary. He's not ordinary. He's extraordinary. He's, I would say he's extraordinary,
00:30:14not ordinary. He's an amazing, he's got an incredible voice. He's a star. When you feel him,
00:30:19he's a true artist. And he was able to collaborate with some other incredible writers and producers to
00:30:25make this one specific song. We use ordinary as the example. Um, he releases the song to a massive
00:30:34amount of fanfare. Okay. So was there like kind of a pre-save campaign or, uh, him teasing it out
00:30:40beforehand. So there was momentum before it even, I shouldn't go into too much of the detail. Alex,
00:30:46who, um, he, he really understands social media. He's cultivated a great fan base online. Um, he's,
00:30:53he's doing massive, massive shows, but he's also has an incredible audience on online. And so what I
00:30:59think part of his magic trick is, is he allows, he will tease songs if he feels like it. And I think
00:31:06what that does is it, that allows his fans to, to, to feel as though they're with him during the
00:31:11writing process. So it makes them feel more engaged with the song before it's even been released.
00:31:18From there, you can tell immediately within the first several hours to the first week,
00:31:25how big a song can be. You can also hear a song and go, that makes sense for this types of audience.
00:31:34You can analyze what that, that type of audience is. And so to answer your question with radio,
00:31:40um, we, we have just broken the, uh, the media base record last week that we've made history
00:31:48with Alex Ronan Ordinary. I think it's now 15 or 16 weeks at number one at top 40. Um, so an incredible
00:31:56story. We'll, we'll, we'll hear that song in 15, 25, 50 years time. And we will remember when, where we
00:32:04were when that song was number one at the charts now. So very exciting times and everyone's different,
00:32:11but he's a, he's an extraordinary example. I feel like over the course of the last 10 years
00:32:17of your career, you've worked with a lot of great singles, a lot of viral internet hits, but also with
00:32:22stuff like Ordinary that has succeeded in more of a traditional way with stuff like radio. What is
00:32:28the longevity of both of those types of hits? Is the longevity of that copyright the same? Or do
00:32:35you see a different decay, I guess, um, as those songs age? I think good music, good songs, good
00:32:43artists. I think they are forever. They are with us. Um, when you go to a wedding, when you go to a
00:32:51birthday party, um, when you listen to the music, you can be there for two, three, four hours.
00:32:59These are songs that have been there since the fifties and the sixties to, uh, last, last month
00:33:07that you're hearing next to each other. Uh, I think a song like Ordinary by Alex Warren will be in both
00:33:17birthday parties and weddings forever. Um, I'm very, very confident of that.
00:33:23I'm sure this quote has come back to haunt you a few times. The LA Times interview a few years ago,
00:33:28you said that major labels are a conveyor belt of a hundred other priorities. I'm wondering now that
00:33:34you're out of major label, how you feel about those quotes? Do you feel like you've driven-
00:33:38I don't recall saying that. I will stand by what I have said before. One of the things that we're
00:33:45doing at Atlantic is we're making sure that we are, we've said it before. So we are doubling down
00:33:51on the artists that we, that we truly believe in, that we, that we have a great partnership with,
00:33:56whether that's one 50, a hundred, a thousand, it doesn't matter. The last few years with, with social
00:34:03media and I think the rhetoric around record labels has been slightly negative and being on the
00:34:14independent side and now being on the major side and having that experience in both. What I can tell
00:34:22you is a record label is a collective of one to several hundred individuals that love music, love
00:34:37working with artists. They're human beings. Do they get it right all the time? No, they're not robots.
00:34:43But these are people that care about artistry. These are people that care about doing good business
00:34:50with artists and helping them find not just their voice, but also their audience. So you always hear
00:34:58about the big bad wolf, the label this, the label that, and that's fine. That's how people vent.
00:35:03That's how people sort of, it's easy to pass blame on, on, on things. I think that's human nature,
00:35:09but I think being outside and now being inside, this is a collective of people of all walks of life,
00:35:15of all ages. They're working every day, sometimes 70, 80 hours a week to just help artists and to work
00:35:23with artists. I've learned a lot from being in. I think a lot of my mindset has changed from sitting
00:35:30on the inside of a major label, which is the respect I have for the industry. It was always there.
00:35:36I think it's, I think it's gone up tenfold because I'm seeing and I'm working with so many of these
00:35:41people that they wake up, they just want to help artists. They want to find artists and they want to
00:35:47help work with artists. They want to help artists. So for me, that's been really special to see.
00:35:54And prior to taking the helm of Atlantic, you were working, doing your own independent thing. But I
00:36:02mean, arguably, given your father was already working in the industry and you've said several
00:36:07times before that oftentimes as a kid, you would go to the office with him and sit there and watch him
00:36:12work. I'm wondering if that gave you some unique insights into this industry and if you have any
00:36:19specific stories about times going to the office with your dad and learning something new.
00:36:24Yeah, he's my dad. I love him. He's my best friend in so many ways. I grew up in A&I,
00:36:30was born into quite a tragic and unfortunate circumstance where essentially my mother was
00:36:39very ill in hospital. And my father, who was an A&R executive and a British label, he had moved closer
00:36:50to the office to be closer to me. So when I was very young, I would get into the habit. I was too young
00:36:56to remember this, but I would always go in and see my dad working in the office. So I was very fortunate
00:37:03to be able, in a bad situation, learn, listen to the conversations around, listen to mixes,
00:37:12watch clips of music videos on VHS. That was my upbringing. I didn't know anything.
00:37:23That was it. That was the norm for me.
00:37:25Yeah. And your grandfather owned a record store, correct?
00:37:29He had a record store.
00:37:31Okay. So do you collect vinyl by chance?
00:37:33I do. I do. I used to trade vinyl when I was like 12, 13 in London. I used to go,
00:37:39they used to have this huge vinyl fair in Olympia, just off Kensington High Street. And I used to go
00:37:46there. And I was always the youngest kid in all of this, hundreds of people, all these American
00:37:52collectors that used to come over for this vinyl fair. And I just, I would take some pocket money
00:37:59and I would go and I would trade, I would barter. That was, that was a, that was the first, I would
00:38:04say, arena of commerce that I'd ever experienced. The fact that it was around music and vinyl is very
00:38:11special. It was quite telling. Um, and then my late uncle Nigel, he started a great independent
00:38:18label in the seventies called Ensign. Worked with some incredible, incredible artists,
00:38:23you know, O'Connell's one, Thin Lizzy, Boomtown Rats. Um, so all of my life, I've been around
00:38:30family members and record executives and their friends who are in, in a marketing department or
00:38:36an A&R department. My cousins are in the, in the, um, music industry. That was the, that was the norm.
00:38:45Conversations around breakfast. I would hear things. I would learn things. I was very, very,
00:38:50very fortunate in that sense. Did you ever reject it and want to run away from that?
00:38:56Never. Wow. Never. There was no teenage rebellion period where you were just like,
00:39:01I need to be different. It was all I knew. I think you hear these stories of, um,
00:39:09families that all of them are doctors or all of them served in the army.
00:39:14And I think that's quite similar to my experience, but instead of being a doctor or, or, or, or being
00:39:21in the army and serving, it was the industry, the music industry. That must've been really fun for
00:39:28your father to have a son who took such a great interest in the same kinds of things
00:39:32that he was interested in. Do you hope that someday your daughter Eloise will want to also be in music?
00:39:38Well, she's going to take over the world one day and be the benevolent dictator of the,
00:39:43of the universe. Um, so if she wants to start in the music industry, that would be wonderful.
00:39:49Um, she is going to serve a very important purpose. Um, if she wants to, um, further on down the line,
00:39:57but she's my flippy flubs. Oh my gosh. Well, is there any music that you guys have to listen to
00:40:02ad nauseam because she's a toddler and always probably wants to listen to the same thing?
00:40:06The wheels on the bus is our song in the car, which is, it makes my ears bleed. But for some
00:40:14reason, my wife seems to like that song. I don't know why. Um, cause Eloise likes it. I play her all
00:40:21the, all the genres. She loves, she cut, she's currently loving, um, Michael Jackson beat it.
00:40:29I'll play that. She'll dance and she'll smile. Um, I played her this morning, uh, Roxy music more
00:40:36than this. She was swaying. I got the, the, the, she did, I could see her hips kind of swaying to
00:40:41Roxy music. And then obviously when I went, I went to the Oasis concert here.
00:40:45Oh, how was it? Uh, incredible. Yeah. Are they one of your faves? I feel like everyone's coming out
00:40:50of the woodwork and saying I'm a huge Oasis fan. I'm like, are all of you?
00:40:55I will say something that might come off quite outspoken here. If you are British
00:41:02and you grew up in the United Kingdom in the nineties and you are not an Oasis fan,
00:41:09you are a sociopath. Those are fighting words. You are a sociopath. Uh, they were incredible.
00:41:18They were, they were brilliant. So my, my boyfriend is from the UK, grew up in the nineties. He's more
00:41:22of a blur fan. How do you feel about that? Is that acceptable? Fine. Fine. Got no quarrel with blur.
00:41:29I'm also a big blur fan. They're not Oasis. So Oasis takes the cake of the two.
00:41:33I think Oasis are the most important British band probably since the Beatles.
00:41:40The show looked incredible. I heard that the Rose Bowl was a little bit chaotic,
00:41:44but it was a good show. They were, they were incredible, but I was playing,
00:41:48I played, um, I, what did I play? I was playing Eloise Wonderwall. I played her,
00:41:53she's electric. I don't think she's electric was on the set list. And she liked she's electric.
00:41:58She liked champagne supernova. Eloise has a very, um, she, she, her taste in music for a 16 month
00:42:07baby is, is quite impressive. She'll have a very encyclopedic knowledge of things.
00:42:12I think so. Yeah. You got to work in the punk at some point, but maybe that's a little bit,
00:42:16maybe that's a few years off. Not yet that we'll do that, but we'll do that on her fourth birthday.
00:42:20Yeah. That might be a little scary for now, but, um, I'm curious. So over the course of your career,
00:42:26you've had a ton of success with a lot of singles. I'm wondering what your thoughts are now on how
00:42:34important an album is for an artist. Does it, does it still carry the same weight as it once has?
00:42:40Now, some artists are more single driven and some artists are more sort of album driven body,
00:42:46body of work, um, artists. So I don't think it's either type A or type B. I think it's our job as
00:42:55a label to identify what artists want, where their audience, how their audience consumes music.
00:43:03If they're better off dropping singles and building towards an album, or if they're better off
00:43:07creating one body of work, um, each artist, each genre and each fan base wants a different,
00:43:13each consumer. They want, they want something different from each of their artists that they're
00:43:18following. It's not as cookie cutter as that. Something that's so interesting about diving
00:43:23deeper and deeper into how the industry works and how fandom works is realizing that in different
00:43:28genres, you have completely different, um, consumer behavior. So a country fan is probably more likely to
00:43:35buy an album, you know, than a pop fan. Um, but also a K-pop fan loves a collectible. So maybe they'll
00:43:42buy multiple versions. Everyone kind of has their idiosyncrasies. Yes. And it's quite interesting to
00:43:48see how it all works. And I mean, you, you just moved into launching a Nashville or a country label,
00:43:55correct? Okay. Nashville country Americana, um, Outpost, which we're really, really excited about.
00:44:02I like the name. That's a good name. So are you hiring a bunch of people in Nashville right now?
00:44:06Like, how does that work? So this was an idea that, that, um, two of our, of our partners,
00:44:13um, Jeff Levin and Ian Cripps sort of, this was something that they'd been looking at building for,
00:44:17for, for a while. Um, and they presented this to all of the team. We were like, why aren't we doing
00:44:27this? This is genius. So we've got a, uh, we've taken a lease on an amazing house in Nashville.
00:44:32Can't tell you the address. Is it on music row? It is in music row. Okay. Well, that narrows it
00:44:38down. We will be there, but look, it's, it's, we're seeing what's going on within that genre and
00:44:43within that type of music. And it's without question, it's, it's breaking into the pop,
00:44:52the zeitgeist. So it would be very foolish of us not having an outpost there to be able to
00:44:59discover and help artists in that, in that pocket and that genre of, of music.
00:45:05Country. It feels like it's been hot for a couple of years now. Do you see any signs of that slowing
00:45:10down or do you still think that you're striking while the iron's hot?
00:45:13It's no, we are at the very beginnings of country, Americana. It's, it's beginning. It's just
00:45:21beginning now. Interesting. Interesting.
00:45:24I'm very bullish on that. Very, very, very bullish. I'm very biased. I love that music
00:45:29personally, but I'm incredibly bullish on that.
00:45:31Have you always listened to country as a Brit?
00:45:33Always. Okay.
00:45:35Ask me my favorite, ask me my favorite country song or artist.
00:45:40Who's your?
00:45:40Shania Twain.
00:45:42Okay. What's Shania Twain's song now?
00:45:46You're still the one's got to be.
00:45:48Okay. Yeah.
00:45:49That's probably, that's probably it.
00:45:52That's, that's a good one.
00:45:54Man, I feel like a woman was a bop in the nineties. That was a great,
00:45:56that was an amazing record as well.
00:45:58That's a very good karaoke song.
00:45:59It's great.
00:46:00I did do that once. It was a, it was a good time.
00:46:03Shania, she's the queen.
00:46:04Yeah.
00:46:05She's the queen.
00:46:06It's interesting how kind of genres ebb and flow over time. And I know you're, you're saying you
00:46:12think that country is going to be on this wave for a while. It's interesting. I was recently
00:46:17looking at some numbers from Luminate and back in 2020 for hip hop, it had like a 30% market share.
00:46:26Now it's down to 25%.
00:46:28Oh, interesting. Okay.
00:46:30Yeah. Yeah. Yeah.
00:46:30Yeah. Have you noticed that given you've had such like a long career working with rappers and hip hop
00:46:36artists that the genre is experiencing some sort of a dip? Where do you see the genre going in the
00:46:41next few years?
00:46:41I look, I think music is very, it's very cyclical. There's the ebbs and flows. I think we've seen
00:46:47this incredible, enormous, uh, boom. Um, that there've been, there've been several booms with,
00:46:54with hip hop within the music landscape. And we saw an unprecedented boom from really from 2015,
00:47:012016 to 2021 to 2022, that sort of six, seven year period. You'd look at the charts on any given
00:47:08month during that five year period and 30, 40, 50% of the charts were littered with the hip hop genre,
00:47:13which is great. I'm a, I'm a hip hop head. I love all music, but I, hip hop is, is that was the
00:47:19beginnings of 10 K. So I understand that genre as well. Um, I think it's cyclical. I think fast forward
00:47:2712, 18 months, we may see the same with country and Americana. We might see it with Latin in three
00:47:32or four years. We're having that moment with Latin now. I wouldn't look too much into it. I think
00:47:38I'm, I come from the school of a brilliant artist will, will come out of nowhere and revitalize
00:47:48the genre and push the genre forward. I wouldn't, you can never, the data's data. You can never bet
00:47:54against hip hop. And I'm wondering for you as an executive, I imagine that it's very easy
00:47:59if you're not trying that 99% of your day gets taken up by admin and approvals and kind of all
00:48:07the executive level stuff. But obviously to be a great executive, you also need to be planning for
00:48:11the future and looking towards strategy. How do you carve out that time for yourself? And do you have
00:48:18like a practice for it? I wouldn't say I have a practice. We have an incredible team.
00:48:24So I really mean this. It's not like there's one person making all of the decisions on every part of
00:48:31the business. What I try and do as an executive is I really try and empower my partners and the people
00:48:38that work with us. So they have agency, they have ownership of their department. So by doing that,
00:48:45that gives me some time to think about what you said, the future strategy, where should we be
00:48:50investing? How should we be looking at artist rollouts? What is wise? What is smart in this
00:48:59genre versus this genre? That really gives me the capacity. But like I said, it's not me making all
00:49:07of the decisions. We've really empowered an incredible team of young executives, old executives. It doesn't
00:49:14matter what they are. We've just got an incredible team of experts in field.
00:49:19One of the areas I'm super interested in right now as a journalist, and it sounds like you might
00:49:25be interested in this too. You said at a conference something about how you're not sure what Gen Alpha
00:49:31and Gen Beta are going to be looking towards in the future as far as music. Like we really can't see
00:49:36in a crystal ball what these future generations are going to want for music and how they'll interact
00:49:42with it and whether they'll care about AI, all that stuff. I'm wondering if you could speak
00:49:47a little bit more to that. Have you been researching into that and looking towards that future generation
00:49:54of music consumers? Absolutely. Well, some of them aren't, they haven't been born yet, but I think if we
00:49:59look at the compounding, accelerating growth effect that we're seeing in the AI boom at the moment,
00:50:07from the technology to the tools, specifically if we're talking about now just on the music landscape,
00:50:13it will be an incredible tool for artists. So I'm very, very excited about that. I think as labels,
00:50:21it's our job to help steer the conversation on the value of our partners' rights.
00:50:30And there's everything going on at the moment with these AI platforms that are training their AI agents,
00:50:40their platforms on content that they have no right currently to train on. So that opens the door to
00:50:50mass, huge, long-term copyright infringement. So I think we're in this very interesting place at the
00:50:59moment where AI is here, it's coming, it's now. Part one of the problem is we need to, as an industry,
00:51:07stick together, hold hands with the artists and use that power to value the art that has already been
00:51:15released. So it's not infringed upon for future generations. So it can be inspired, but it shouldn't,
00:51:22it shouldn't be infringed upon. So I think that's part one. Part two is when you and I go to a birthday
00:51:30party or a wedding, we'll hear Bruno Mars, we'll hear Earth, Wind & Fire, we'll hear Taylor Swift,
00:51:35we'll hear Michael, we'll hear Prince, we'll hear artists that were released that we can connect with
00:51:41before we were even born. My question is, will Gen Beta or Gen Alpha, will they have the same affinity
00:51:53towards artists like Bruno or Taylor, the iconic artists of our generation, the same way as how
00:52:02you and I feel about Prince and Michael? I mean, it's an interesting, I mean, it's unknowable.
00:52:06They will. Okay. So by the way, I think they will. I think how they will consume
00:52:11those songs and how they will consume those artists, the mediums will be different. I think
00:52:16that there is a forever drug with great music and with great art. I think it's our job to,
00:52:23as an industry, as we move forward, especially with what's going on with the AI and the tools,
00:52:29I think it's really important that we are positioning ourselves for the next generations.
00:52:39We're positioning them to discover the Brunos and the Taylors of today, like how you and I had the
00:52:47opportunity to discover Prince and Michael, for example. Something I've been thinking about a lot.
00:52:53I'm our primary AI music reporter, so this is something I just think about all the time.
00:52:58Name, image, likeness, voice, rights. These are things that are very important for celebrity
00:53:05artists, some of which are signed to Atlantic, as well as many other record labels. I think that
00:53:11in the future, given we have the capacity for very realistic AI deepfakes, but also the capacity
00:53:17for artists to maybe license out their voices and do interesting new things with them, could you
00:53:23imagine in the future the label having any role in those type of rights? Because those are not
00:53:27typically associated with record labels, but since record labels are working hand in hand with
00:53:32artists on their copyrights, is that something you could imagine a label getting involved with in
00:53:37the future? Give me an example of, paint a real-life scenario of what you've just explained there.
00:53:46An artist who is signed to a record label, wants to license out their voice, maybe to other
00:53:53consumers who want to make music and use their voice, and that's something that they find to be
00:53:57interesting. Do you think that the record label would kind of help make that partnership and work
00:54:04with them on that kind of stuff, or is that something that doesn't really fall into the label domain?
00:54:08So I think like covers, we've seen the extraordinary success of covers, and in that example you just
00:54:15painted, I think it's our responsibility as the label and the partner of the artist, if they want
00:54:21their music to be recorded by a synthetic artist or another artist through AI with their voice and their
00:54:30name and their likeness, I think they have every right to want that. I think it's our job to protect
00:54:37them, to protect their rights, and to make sure that they're fairly compensated for doing so.
00:54:42But should labels get a cut of that? It all depends on what the contracts are with the artists and the
00:54:47labels now versus what they were versus what they will be. I think ultimately it doesn't matter what
00:54:57the partnership is. A label artist partnership is multi-dimensional. A label might not share any of
00:55:11the revenue that an artist has on the touring, on the road, but it's very important that a label can
00:55:19help an artist grow to the level where they're able to go and sell out stadiums because that in turn
00:55:25is able to proliferate the brand, the streams, the sales come back. It's one full circle. So if they're
00:55:34not obligated to share any of the revenue, I still think it's their responsibility to help and push as
00:55:41much as they can do. And one last question about kind of the future of labels. It feels like since
00:55:48early 2024, I think there have been shakeups at pretty much every major music company, even in the
00:55:54indies too, where a lot of people are thinking about restructuring and reconfiguring what are their
00:55:59priorities at the label. And one thing that I've seen at multiple companies is the idea of centralizing
00:56:07certain services. So just using an example, this is not to call them out specifically, but
00:56:13like Interscope and Capital now have a shared sync department. Previously, they both had their own
00:56:18sync departments for those who might be listening and not know what that is. It's like film TV licensing.
00:56:23That sounds like perhaps maybe a cost cutting exercise.
00:56:26I'm wondering, is centralizing services something that you're interested in within Atlantic Music Group?
00:56:32If it works for the artist and it works for the artist team, look, we look at things through the
00:56:37prism of what can we do to best service the artists? There's dollar and cents.
00:56:45As long as we're given a budget, as long as you're within your dollars and cents,
00:56:50you use that, you've got to be able to allocate the right resources, all for the artist has got to work.
00:56:56So if centralizing some services is, as you say, is a part of that, then sure. As long as it works
00:57:04for the artist, then fine.
00:57:06Well, Elliot, this has been a great conversation. I wanted to end this off with something that we do
00:57:10on every episode of On The Record, which is called Make Me A Playlist. So I'm going to ask you to make
00:57:15me a playlist of three different songs falling into three different categories. The first one is a song
00:57:21that you can no longer gatekeep. Clairo is the artist. Okay. I would say there's
00:57:30this album of hers, I gatekept, Sling. There's a song, well, you know what I'm going to say? Amoeba.
00:57:37That is one of my favorites. Okay, so you knew this one. Oh, yes. So you know your stuff. Oh, yes.
00:57:42I love that song. She's so great. The greatest. So great. I think that Sling was highly underrated.
00:57:49Charm got the attention that I thought Sling also should have gotten.
00:57:53Sling was an incredible album. It was released right at that pocket of the pandemic,
00:57:58right sort of beginning of 2021, where it was a difficult time to release music. But
00:58:03I think it's, I think people are, you can't get, you can't gate Clairo anymore.
00:58:08Blouse is my favorite one on that record. That was a great one.
00:58:10Second one is a favorite throwback.
00:58:13Let's go with September. Earth, Wind and Fire.
00:58:15Classic. Classic.
00:58:17Can't go wrong.
00:58:18No.
00:58:18A Guilty Pleasure.
00:58:21This one's bad. In the best of way.
00:58:23Okay. Yes.
00:58:24I can't stop listening to Paris Hilton. Stars are blind.
00:58:28Oh, that's fantastic. That's a fantastic pick.
00:58:32Do you know what? I was trying to be cool. It's not even a guilty pleasure. It's just a pleasure.
00:58:36It's great. It's a great, I feel like it's gotten more attention now
00:58:39in the last couple of years. As it should. It's a banger.
00:58:43Yeah. It is a good one. Well, thank you so much for coming, Elliot. This was so much fun.
00:58:48And we'll have to have you back again soon. Thank you for having me.
00:58:51All right. Another big thank you to Elliot Grange for coming to the studio and talking to us about
00:58:55his first year at Atlantic. And now for a rundown of what's going on on the Billboard Hot 100 chart
00:59:00for the week of October 4th, 2025. Die with a Smile by Lady Gaga and Bruno Mars is back at number 10.
00:59:09Love Me Not by Raven Lenay falls to number nine.
00:59:15Justin Bieber's Daisies is in the eighth spot again this week.
00:59:20Lose Control by Teddy Swims is up this week to seven.
00:59:26Manchild by Sabrina Carpenter falls to the sixth place.
00:59:31Your Idol by Saja Boys comes in fifth.
00:59:34Morgan Wallen and Tate McCrae's duet What I Want sticks at number four.
00:59:43Soda Pop by Saja Boys rises to three.
00:59:49Ordinary by Alex Warren stays at number two.
00:59:51And finally, the number one song of the week on the Billboard Hot 100 chart,
00:59:59the seven total weeks at number one, is Golden by Huntrix from the K-pop Demon Hunter soundtrack.
01:00:05That's our show. Thank you so much for joining us.
01:00:07Again, I'm Kristen Robinson, and this has been On The Record.
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