Universal Music Group‘s team is now managing more than 130 artists across Southeast Asia.
That’s according to Adam Granite, CEO of UMG’s Africa, Middle East and Asia (AMEA) division, who said the region is “one of the key epicenters for global virality”, with “a lot of global songs and hits” starting there.
UMG has expanded its professional artist management capabilities in the region in recent years, alongside additional expansion in its heartlands of recorded music and music publishing.
Granite was speaking in a fireside session titled “Music is Universal, A Look at the Region’s Exciting Musical Future” at the Music Matters strand of the All That Matters conference at the Hilton Singapore Orchard on Monday (October 5).
UMG says labels face an “ever-increasing need” to evolve their offer to artists and songwriters, and Granite said artist management was the service most lacking in the region.
“One of the things we noticed during this phase that was really lacking here was the management service,” said Granite. “You know, I think gone are the days where you would do a traditional ‘360’ deal and the record label would show up on album release date.
“Today we think those deals should probably be called ‘365’ deals because it’s really about being there throughout the year for those artists. Across South-East Asia we’re now managers to over 130 artists – that’s us providing a service artists have been asking for.”
“Across South-East Asia we’re now managers to over 130 artists – that’s us providing a service artists have been asking for.”
Adam Granite, UMG
Granite last spoke at the Singapore conference in 2019, when he announced the launch of Def Jam South East Asia and Astralwerks Asia.
“I’ve worked with our SEA CEO Calvin Wong to really build out our label infrastructure organically and through M&A, and strategic partnerships,” he said of the years since.
“I’ve always wanted us to be deeply embedded in all the corners of the region because I think that’s what’s needed to truly understand the trends, spot growing genres, and make the most of opportunities. Calvin and I have always been aligned on having a comprehensive presence.”
Wong is CEO of Universal Music Southeast Asia & Korea and SVP, Asia.
In June, UMG took a minority stake in Thai distribution and publishing company Solution One, following its acquisition of the RS Group recorded music catalog in 2024 and a minority stake in independent label What the Duck in March.
Granite also pointed to Universal Music Singapore’s three-year memorandum of understanding with the Singapore Tourism Board, signed on May 8.
“Our partnership with the Singapore Tourism Board is a great example of our role within the ecosystem,” he said. “We’re helping create a platform that serves artists and elevates Singapore as a go-to destination.
“Whether it’s helping local artists build their presence regionally, or American artists reach new audiences, it all elevates Singapore and the music ecosystem.”
Granite said both music and audiences are driving the region’s growth.
“I would say Asia has benefited from the growth of K Pop, J Pop and now C Pop emerging from China as well, which is really leading the way,” said Granite. “But I think what is also really driving the growth here is you have such a young, engaged, mobile first demographic, which has really leapfrogged the home broadband phase of penetration and that has led to a hyper social, incredibly engaged economy.”
He added: “For example, five South East Asian markets alone account for 1.2 billion platform MAUs – an outsized footprint for a region with a population comparable to Europe, and Indonesia has the most MAUs in the world for TikTok, which is pretty incredible.”
“This region has a hyper mobile, socially engaged audience and is one of the key epicenters for global virality,” Granite said. “And you see a lot of global songs and hits start in this part of the world and that really opens up exciting opportunities because it’s not just the artists in this part of the world that have noticed clearly. Global superstars now look to this region and lean in here.
“And actually what that then leads to is a healthy two-way street which is emerging where you have these western artists who are engaging with these markets to tap into that virality. But the local market can then also engage with those Western artists to help build audiences overseas too. So it’s a really healthy two way street that’s evolving.”
“Five South East Asian markets alone account for 1.2 billion platform MAUs – an outsized footprint for a region with a population comparable to Europe.”
Adam Granite, UMG
“This repertoire is now traveling the world like never before,” said Granite. “We saw it with reggaeton, we saw it with K pop. Language is not the barrier it used to be.
“Here’s a perfect example: the number two market in the world for Vietnamese repertoire is the US. You know, that simply wasn’t possible before streaming. Incredible.”
Granite added: “We’re seeing entire new genres and subgenres emerging right before our eyes. It’s a sign of the dynamism of the music ecosystem that whole new subgenres are developing as we speak.”
“The gatekeepers are gone – Kpop has broken down the barriers for repertoire from this region traveling the world,” said Granite.
The session followed a performance by Malaysian girl group DOLLA, signed to Universal Music Malaysia.
UMG describes DOLLA as Malaysia’s number one idol group. The trio are due to perform at The A Festival in Paris on October 24 and 25.
On generative AI, Granite said it is still too early to judge the technology.
“Well first, let’s not call the game in the second inning – it’s still very early days for this technology,” said Granite. “Around the world I hear fans say they want to hear real music, by real artists, and they want to experience that in real life.
“I think the future of music will remain as it is today – focused on human artistry. But we think genAI is an opportunity – for us and for artists.”
Granite added: “I want to say that we believe deeply that the future is centered around human artistry. And we are very happily working with some of the most significant partners in music in the world and technology partners in the world who share that belief.
“Companies like Spotify, Nvidia, and ElevenLabs, which is a new partnership we just announced. So really focused on an artist centric future.”
UMG announced a multi-year licensing agreement with ElevenLabs on September 10, under which ElevenLabs will launch an AI-powered music platform for fans.
Asked about AI slop, Granite said: “AI presents a challenge here. We have to work with partners and the entire industry to ensure that the ecosystem remains healthy.
“And that means being clear on our expectations with distributors and working with our partners and the platforms to ensure that the future is not filled with slop.”
UMG sued DistroKid on September 15, alleging that the distributor is “flooding platforms with AI-generated ‘slop’”.
DistroKid was among the distributors that had not signed the IFPI‘s Streaming Integrity Initiative at the time of its launch on September 14.
Granite closed: “We may want to rename this part of the conference Human Music Matters!”Music Business Worldwide
Universal Music Group (UMG) is experiencing significant growth in Southeast Asia, with its team managing over 130 artists in the region. Adam Granite, CEO of UMG’s Africa, Middle East, and Asia (AMEA) division, emphasized the area as a « key epicenter for global virality, » noting that many global hits originate from there. UMG has expanded its artist management capabilities and has also made strides in recorded music and music publishing.
Granite shared these insights during a fireside chat titled “Music is Universal, A Look at the Region’s Exciting Musical Future” at the All That Matters conference in Singapore. He highlighted the evolving needs of artists and songwriters, indicating a significant demand for comprehensive management services in Southeast Asia. The traditional model of record labels offering « 360 deals » is becoming obsolete; instead, Granite proposed a shift to « 365 deals, » which implies continuous support for artists throughout the year. This approach has led UMG to actively manage over 130 artists, responding to a clear request from the music community.
Since Granite’s last appearance at the conference in 2019, UMG has expanded its operations, launching Def Jam South East Asia and Astralwerks Asia. He has worked closely with Calvin Wong, CEO of Universal Music Southeast Asia & Korea, to build out the label infrastructure through organic growth, mergers, acquisitions, and partnerships. Granite stressed the importance of understanding regional trends and emerging genres to capitalize on opportunities.
In June, UMG made a strategic investment by acquiring a minority stake in Thai distribution and publishing company Solution One and the RS Group’s recorded music catalog. They also formed a significant partnership with the Singapore Tourism Board to elevate local artists while promoting Singapore as a cultural hub. Granite remarked that the partnership exemplifies UMG’s role in the broader music ecosystem, benefiting both regional and international artists.
Granite pointed out that the growth of music in Asia is fueled by the rise of genres such as K-Pop, J-Pop, and C-Pop from China, along with a youthful, engaged, mobile-first demographic. This demographic has led to a hyper-social economy, as evidenced by the fact that five Southeast Asian markets account for 1.2 billion monthly active users on various digital platforms. This engagement is particularly notable in Indonesia, where TikTok has the highest number of users globally.
The region is becoming increasingly vital for the music industry, as Western artists recognize the potential for virality within Southeast Asia. Granite illustrated this trend by discussing how local artists can engage with international stars, creating a mutual exchange that enhances both markets. He noted that music from Southeast Asia is now reaching global audiences like never before, breaking down language barriers.
Granite cited the example of Vietnamese music, which has gained a significant following in the U.S., a phenomenon that was nearly impossible before the streaming era. He highlighted the emergence of new genres and subgenres, reflecting the dynamic nature of the music landscape. The barriers that once existed for regional music to travel globally are diminishing, thanks in part to the success of K-Pop.
The session featured a performance by DOLLA, a prominent Malaysian girl group signed to UMG, showcasing the local talent that UMG is promoting. DOLLA will be performing at The A Festival in Paris, further emphasizing UMG’s commitment to elevating Southeast Asian artists on the global stage.
Granite also addressed the topic of generative AI in music, expressing that it is still early in the technology’s development. He emphasized the importance of real music created by real artists and suggested that while AI could present opportunities, the future of music must remain centered on human artistry. UMG is collaborating with major partners in the music and technology sectors, such as Spotify and Nvidia, to navigate this evolving landscape.
UMG recently announced a multi-year licensing agreement with ElevenLabs to develop an AI-powered platform for music fans. However, Granite acknowledged the challenges posed by AI, particularly the risk of flooding platforms with low-quality content, often referred to as « AI-generated slop. » UMG has taken legal action against distributors like DistroKid for contributing to this issue, emphasizing the need for a healthy ecosystem in the music industry.
In closing, Granite suggested rebranding the conference theme to “Human Music Matters,” reinforcing the idea that human creativity and artistry remain at the core of music’s future. As UMG continues to expand its influence in Southeast Asia, it aims to foster an environment that supports artists and promotes diverse musical expressions on a global scale.
