Making the Cut: Variety’s 2020 Hitmakers and Hitbreakers Revealed

Producers, Songwriters
Roddy Ricch’s “The Box”

“We were sitting in the studio together doing what we do best – making beats,” says 30 Roc of creating the foundation for “The Box” with fellow producer Dat Boi Squeeze. “That last beat we made caught Roddy’s attention, and we knew it was going to be a big part of the song.” Though the producer credits much of the record’s success to Ricch’s vocal performance and quirky adlibs, he notes that the influx of memes soon after its release as giving the first indication that the song could pop. Atlanta natives 30 and Dat Boi duo worked together on two tracks for Ricch’s 2019 album and were ultimately validated when the single found a massive audience on streaming and radio. “We were really attached to its success and excited to see how it’d resonate,” says 30 Roc. Adds Dat Boi Squeeze: “It was my very first No. 1 song – and I’m really proud that I did that with 30, someone I grew up with and have known for a long time.” (Eli Countryman)

Songwriter
Harry Styles’ “Adore You”

Allen had her first feel-good hit with “Adore You,” which evolved from the 1970s-influenced sounds both she and Styles were consuming. “I grew up on that classic soft rock — Fleetwood Mac and the Stones’ ‘Wild Horses,’ ” she says. Co-written with Styles, Kid Harpoon and Tyler Johnson, the song sets itself apart from today’s trend toward darker music — particularly on terrestrial radio, where “Adore You” was the second-most-played song of 2020, as well as satellite. “Deep down I’ve always been hungry to put out songs with a universal message that the world can sing back,” she adds. “And I guess the easiest way to sum that up is a top radio song.” (EC)

Producer, songwriter
Future’s “Life Is Good” f. Drake

German producer and songwriter Ambezza was 13 when he began making beats in 2008, but it wasn’t until a few years ago that he started taking the craft seriously. His networking skills over the internet led to incremental placements for Tinashe, Killy and DaBaby. But it was when he sketched the idea for his biggest collab to date, Drake and Future’s inescapable smash “Life Is Good,” that Ambezza hit full throttle, conceptualizing the first half of the song in June 2018 before shipping it off to co-producer OZ last year and roping in D. Hill to finish the track. Its success, which includes 573 million Spotify streams, is a testament to its versatility: “Two of today’s top artists effortlessly flowing on two different beats,” he says. (Steven J. Horowitz)

Producers, songwriters
Justin Bieber’s “Intentions” f. Quavo

Las Vegas-based production duo the Audibles — Dominic “DJ” Jordan and Jimmy “Jimmy G” Giannos — have worked with Bieber several times, but they’re especially proud of “Intentions,” which hit No. 1 on Pop radio earlier this year — and was just nominated for a best pop duo/group performance Grammy. “Since the day we made the track, we thought it definitely had a feel-good vibe that could potentially be a big song,” Giannos says. For Jordan, “getting our first top 5 record” was one of his personal proudest moments in a long career. Indeed, radio tipped it over, but there was the visual, too. “A heartfelt music video having a powerful and positive message was very much needed during these depressing times,” Jordan says. (Charlie Amter)

Producers, Songwriters
Cardi B’s “WAP” f. Megan Thee Stallion

In the six years that production team Ayo N Keyz have spent making music together, their list of collaborators has grown to include Chris Brown, Jaden Smith and Cardi B. A record-breaker and ceiling-smasher, Cardi’s “WAP” surprisingly didn’t take long to write. Says Keyz: “It’s all about trusting our gut.” Their hunch was right as “WAP” became the first female rap collaboration to debut at No. 1 and made history with 93 million streams in its opening week. Ayo reckons its success was an escape for many. “For those three minutes and seven seconds, it’s like being in the club again or at your favorite party.” “WAP” was a cultural phenomenon, too, thanks to its raunch, wit and that title. Adds Keyz: “It has all the ingredients for making a hit song.” (Jazz Tangcay)

Producer, Songwriter
Post Malone’s “Circles”

When “Circles” dropped in September 2019, it was on the heels of a trio of massive singles by Post Malone — “Sunflower,” “Wow” and “Goodbyes” — and had a lot to prove. Mission accomplished. Post’s main collaborator Bell added his magic sonic touch, a pulsing beat and the vocal quiver for which both are known, and out came pure pop perfection. “Right out of the gate the reception was very welcoming,” Bell reflects. Produced alongside Frank Dukes and Post, Bell, who was Variety’s Hitmakers producer of the year for 2019, notes that he’s proudest of its chart performance — “breaking the record for most weeks in the Top 10 of [the Billboard] Hot 100 with 39 weeks” — and expects the song will “stick around” for a long time to come. (Kristin Robinson)

Producer, Songwriter
Lil Mosey’s “Blueberry Faygo”

Seattle producer Callan has been riding the long tail of Lil Mosey’s “Blueberry Faygo” since June 2019, when it originally leaked. Then came TikTok before the song’s official release and a meme was born. “There were already over a million videos made to it,” he notes. While the lyrical play is a draw for the pop audience, Callan believes “Blueberry Faygo” is “what a complete hit record should sound like — there’s not one element that carries the other.” Well, there is one key factor: a flip of Johnny Gill’s 1990 hit “My, My, My.” Callan says his proudest moment was having Gill and Kenneth “Babyface” Edmonds acknowledge the track. “They’re legends. It’s cool to have them enjoy what we created based on their work.” (KR)

Producer, Songwriter
Saint Jhn’s “Roses”

Good things can often take time, which is why Saint Jhn’s ubiquitous summer hit “Roses” played the ultimate game of patience. Back in 2015, Fallen architected the original version of the brooding trap anthem with the Guyanese-American rapper in hopes that Beyoncé might record it. Saint Jhn released his solo rendition the following July, but it merely percolated until Kazakh remixer Imanbek transformed the track into a titanic thumper accented by indecipherable pitched-up vocals in 2019. It took off on platforms including TikTok, where it’s been used in 3 million videos, becoming one of 2020’s penultimate hits. Fallen chalks it up to an unexpected boost: “The pandemic in a lot of ways really helped its success. It’s light in a dark time.” (SJH)

Producer, Songwriter
Billie Eilish’s “Everything I Wanted”

When the biggest breakout star in years releases the first stand-alone single after a phenomenal debut album, it doesn’t require a brilliant master plan. “I know people have made quite a few TikToks with the second verse,” says Finneas, Eilish’s brother and collaborator, “but I think the initial exposure we owe largely to our already loyal audience — Billie’s, specifically. I can’t speak to why other people like it, but I think the sounds — piano, percussion, bass, Billie’s voice — just fit together so beautifully on this one.” This time, it was really personal, since they wrote it about Finneas helping lift Eilish out of depression: “The message will always be important to me, about loving someone when they aren’t able to love themselves.” (Chris Willman)

Songwriter
Cardi B’s “WAP” f. Megan Thee Stallion

“It’s like an anomaly,” says songwriter Pardison Fontaine of the tongue-wagging “WAP.” Or maybe fate? Cardi B’s go-to writer credits “the planets aligning” for bringing together collaborators Ayo n Keyz to contribute to the track along with Cardi and Megan Thee Stallion. Having two of the biggest female rappers on the record helped “WAP” instantly become one of the biggest hits of the summer. “I felt like everybody was dying to hear it,” adds Pardison. “It was such a big moment for female rap having two superstars on it. … and with the video, the whole thing was filled with wow appeal. A lot has to be said for the genius of those two.” (JT)

Mixer
The Weeknd’s “Blinding Lights”

Mixing records before they turn into international smashes is nothing new to Grammy-winning audio engineer Ghenea, who has worked for such music A-listers as Taylor Swift and Adele. The in-demand Ghenea had another typically busy year in 2020, despite the pandemic, and he says he loved working on the Weeknd’s crisp-sounding “Blinding Lights” as much as any other single he mixed the past few years. “It was crossing two worlds to make something new that fits today, sonically,” he says of the 1980s-inspired track. “The older folks like it because it’s a throwback, and then the kids love it because it’s a new thing that they never heard before,” the Virginia Beach-based engineer says, while noting producer and co-writer Max Martin deserves credit for the song’s real auditory magic. (CA)

Producers, Songwriters
Trevor Daniel’s “Falling”

TikTok users’ embrace of Daniel’s “Falling” ultimately led to the song topping the Pop radio chart. But the dream-like track’s journey started with a beat. According to producer Handsome (pictured at top left), “It started with my guitar and vocals, and my collaborators finished.” Taylor (bottom), the founder of Internet Money Records, discovered Houston’s Daniel three years ago on SoundCloud, bringing him out to Los Angeles for a “trial session.” “Falling” was the second record they made, on which Daniel wrote all the lyrics. “The thing with Internet Money, we have really good hook melodies and we stay on our jobs,” says Taylor. Adds Supreme: “’Falling’ has a darker tone than most other pop songs. I think in a year like 2020 has been, more people resonated to that kind of vibe.” (EC)

Producer, Songwriter
Megan Thee Stallion’s “Savage”

Anthony Jermaine White, also known as J. White or J. White Did It, made a chart-topping hit in about an hour. The producer said he created the beat for Megan Thee Stallion’s “Savage” in 15 minutes, and the rapper recorded her vocals in just 20. White’s production style is often characterized by a quick turnaround in collaborative studio settings. “Most of my hit records come out pretty fast,” says the Kansas native whose credits also include Cardi B’s “I Like It” and “Bodak Yellow.” “For me, if it feels good on the production side, I’m kind of done with it. With ‘Savage,’ I touched that track one time. I didn’t do any changes or take nothing out.” (EC)

Producer, Songwriter
Jack Harlow’s “Whats Poppin”

Producer Jetsonmade confesses that he “did not expect” Harlow’s “Whats Poppin” to be a hit. Rather, the South Carolinian, who produced the track alongside Pooh Beatz and Los the Producer, anticipated the Louisville breakout’s single to be “a good conversation starter.” But the bouncy track blew up soon after its March release and, once accom­panied by a Cole Bennett-directed music video, “Whats Poppin” shot to No. 2 on the Hot 100 and Rolling Stone’s Top 100 Songs. It prompted a remix with rap veterans Lil Wayne, DaBaby and Tory Lanez. Jetson-made credits his biggest hit to date to its opening hook, “you got no choice but to like it — it’s lit.” (KR)

Producer, Songwriter
Harry Styles’ “Adore You” and “Watermelon Sugar”

“The primary reason these songs grab people is that they reflect Harry,” says Johnson, who played a key role in two of Styles’ most infectious hits. “You get a true taste of who he is as a person.” One could say the same of Styles’ collaborators, whose musicality informed the “Fine Line” album. Johnson is no stranger to stars — he’s produced for and penned songs with Miley Cyrus, Taylor Swift, Ed Sheeran, Sam Smith and others. Based mostly in Nashville, where “Watermelon Sugar” took shape, Johnson is eager for the pandemic to end so he can resume “going to live shows and irresponsibly drinking while listening to songs I helped create.” (Ellise Shafer)

Producer, Songwriter
Gabby Barrett’s “I Hope”

“I Hope” will go down as one of this era’s great ill-wishing breakup songs. Yet that was hardly the initial intent in the writers’ room with Kale, Barrett and Jon Nite, when the No. 1 country smash lacked its twist. “We were trying to capture the brilliance of ‘I Will Always Love You’ but just couldn’t land the plane,” says Kale. “We had every line through ‘I hope … she’s everything you’re ever gonna need’ and I jokingly spun around from the piano and said, ‘And then I hope she cheats.’ I think the audience is as surprised listening to it for the first time as we were writing it!” (Chris Willman)

Producer, Songwriter
Harry Styles’ “Adore You” and “Watermelon Sugar”

To hear Styles tell it, longtime friend and collaborator Tom Hull (aka Kid Harpoon) is “a safe space … to explore different things” in the studio. In the case of “Adore You,” the two aligned on the rare guitar solo, which Styles mouthed and Kid Harpoon played. “I mimicked it and we cut and pieced it together,” says the song’s co-writer and producer. For “Watermelon Sugar,” Kid Harpoon credits Tyler Johnson as the missing piece in an “arranged marriage” officiated by Styles. “We got really close and realized our skills very much complement each other.” His work with Styles has made Kid Harpoon a hot commodity among pop-rock singers — he’s all over Shawn Mendes’ latest album, “Wonder.” (Shirley Halperin)

Remixer
Saint Jhn’s “Roses”

One of 2020’s biggest songs is also one of its most surprising. 19-year-old Kazakhstani producer Imanbek was virtually unknown to most of the world as recently as 2019, until he decided to “flip” a 2016 R&B song, “Roses,” by New York’s Saint Jhn, into a dance/pop powerhouse. The track first took off in Russia, and then conquered Europe and America in epic fashion: conquering radio and Spotify alike. Imanbek’s re-work of the track passed a billion streams on Spotify in late October and last month it was nominated for a Grammy in the best remix category. (CA)

Producer
Tones and I’s “Dance Monkey”

German/Australian producer Konstantin Kersting is behind the inescapable sound of Tones and I’s “Dance Monkey,” which arrived in America this year after conquering the rest of the world in 2019. “The U.S. is such a huge market and so different from Australia or Europe in terms of how radio works, so I always knew that if it was gonna break in the U.S., it was always gonna break there last,” he says. Boasting two billion streams on Spotify has presented new opportunities for Brisbane-based Kersting, who says the hit “definitely opened up a lot of doors internationally, which has been amazing.” And locally? “One time, I heard [‘Dance Monkey’] on the radio driving to the shops, then heard it in the actual grocery store and then heard it on another radio station on the drive home…. It was absolutely everywhere.” (CA)

Producer, Songwriter
Dua Lipa’s “Don’t Start Now”

In January 2019, Kirkpatrick and co-writers Emily Warren and Caroline Ailin were on a writing retreat in Jackson Hole, Wyo., working on material for Lipa, and wrapped up a work day by going to a bar. “It was disco night, with people dancing to ‘YMCA,’ so the next morning we’re like, let’s do something disco-y’ — with a touch of European house,” he recalls. The prominent bottom end was key: “I love writing me a bassline — all you do is use all the Daft Punk and Bee Gees in your head and it just comes out.” And the top end? “As soon as Dua comes on [the writing process] it completely changes the personality,” says Kirkpatrick, who also produced her breakthrough “New Rules.” (CW)

Producer
Maren Morris’ “The Bones”

Kurstin (Adele, Foo Fighters) has won two CMA Awards for working with Morris — “my first country awards, and the first time I’ve worked with an artist in that world.” But as the pop crossover of “The Bones” proved, the singer is now an artist of many worlds. After they co-wrote the “Girl” album’s title track, Morris brought Kurstin the “Bones” demo to produce. “It takes me a while to absorb lyrics, and once I did, I was blown away,” he says. “But the first thing I noticed was Jimmy Robbins’ guitar hook; I wanted to keep the song rooted in that. And Maren has such a soulful voice; you can hear that she listened to a lot of soul music growing up.” (CW)

Songwriter
Gabby Barrett’s “I Hope”

With 14 country top 10s under his belt, Nite was the most veteran co-writer in the room when he hooked up with Barrett, fresh off “American Idol,” and Zach Kale for “I Hope.” “It was evident the second we wrote it that it was gonna be crazy if the world heard it,” Nite says. ”However, Gabby was so new she didn’t have a team other than her amazing manager, Tom Lord, to release the song. They took it to the Highway at SiriusXM; then it took off and began to stream like mad; then Warner Nashville signs Gabby … I have never been part of a song where listeners were more pivotal to making it see the light of day.”(CW)

Producer, Songwriter
Drake’s “Toosie Slide” and Future’s “Life Is Good” f. Drake

Swiss-born OZ (real name: Ozan Yildirim) had two Drake hits on his hands this year — an enviable position for any producer to be in. And while it wasn’t OZ’s first time charting — he’s had songs hit the top spot on the Hot 100 three times — “Toosie Slide” represented the first sole production credit for the Grammy winner. Credit the infectious, hi-hat skiffle for making the tune an instant winner, amplified by a dance challenge on TikTok that instantly went viral. As Oz explains the appeal of “Toosie”: “The song has a melodic, trance-type feel — you listen to it and can’t stop singing.” As for “Life Is Good,” OZ’s proudest moment was seeing its iconic YouTube video reach 1 billion views. “Every time Drake and Future collaborate, it’s always special,” OZ says. (ES)

Producer, Songwriter
Jack Harlow’s “Whats Poppin”

Pooh Beatz was always confident Harlow’s “Whats Poppin” was going to be “something great,” but when he started producing it with collaborators Los the Producer and Jetsonmade, he says it was “just a regular day.” “I wasn’t thinking about whether it’d be the best song of the year or not,” he adds. Pooh Beatz, who has produced tracks for stars including DaBaby, Nicki Minaj and A Boogie Wit Da Hoodie, attributes “Whats Poppin’s” success to its “catchy and fun” beat and its chorus. The producer is most proud of seeing his biggest hit so far pop up in commercials, video games and NFL games. “I realized the song was resonating with so many people,” Pooh Beatz says. “That was the ‘wow’ moment for me.” (KR)

Songwriter
The Weeknd’s “Blinding Lights”

“The first beat I made ended up being my first song on Canadian radio,” Quebec-born DaHeala says of Massari’s 2005 single, “Smile for Me,” which introduced him to the team later behind the Weeknd. For the past seven years, DaHeala has worked with the Weeknd on dozens of tracks. “Usually it’s just me and him,” he says, but “Blinding Lights” was different. Max Martin was the producer and DaHeala “would throw words in.” Since the song was meant for a Mercedes Benz ad, the car’s start button inspired the line “you can turn me on with just a touch.” DaHeala says he knew the song was connecting when he scrolled through TikTok during COVID. “I saw the first ‘Blinding Lights’ dance challenge videos — three boys, co-eds. After that it was the nurses and first responders. Then it was everywhere.” (Karen Bliss)

Producer, Songwriter
DaBaby’s “Rockstar” f. Roddy Ricch

If the studio is where SethInTheKitchen cooks up hit tracks, his car is where the producer goes to refine his recipe. After listening to an early version of DaBaby’s “Rockstar,” the producer revamped the drums and reworked the overall structure into the signature smooth flow found on the hit song. “I think each listener is gonna be grabbed by something different, and that’s what makes it special,” he said of the record’s mainstream appeal. “The melodies across the board are pretty hard to escape whether it’s Baby, Roddy or the guitar.” (EC)

Songwriter
Megan Thee Stallion’s “Savage (Remix)” f. Beyoncé

When Beyoncé’s team asked Starrah to lend a hand on a remix of Megan Thee Stallion’s “Savage,” the songwriter and artist welcomed the opportunity to reteam with the “Homecoming” queen, having previously worked on “Already” and “Find Your Way Back.” Says Starrah, whose real name is Brittany Hazzard: “My goal was to deliver something fun and empowering, but also didn’t feel like anything we’ve heard Beyoncé do before.” Says Starrah of working on the  No. 1 smash during COVID: “To make people celebrate and be happy during a quite tumultuous time is a feeling that I can’t describe.” (KB)

Songwriter
Maren Morris’ “The Bones”

Veltz may be best-known as one of Morris’ ongoing key collaborators, though having helped make Dan + Shay stars with “Speechless” is no small credit. Of the Pop-Country crossover smash “The Bones,” she says: “It sounded like a hit to me, but there was no way we could know how it would resonate in this historic year. A song about resilience hits harder in 2020. I personally found solace in the idea that whatever is wrong, we can make it right because, at the rock bottom of us humans, we are good. The lyric, ‘We’re in the homestretch of the hard times’ provides a finish line in the midst of a challenge.” (CW)

Songwriter
Post Malone’s “Circles”

Post’s success can be traced, at least in part, to the songwriting skills of Walsh, but their collaboration on “Circles” (along with Frank Dukes, Louis Bell and Kaan Gunesberk) may be their most fruitful yet. The song shattered records, defied formats and became the latest in a string of radio smashes for Post, spending 34 weeks in the top 10. “Obviously when a song goes No. 1, it’s a huge moment, but when it broke the record for weeks in the top 10, that felt more meaningful because it showed the song’s longevity,” he says. “There’s a lot of nostalgic elements playing off each other [in the song], along with Post’s unique vocal tone, which I think plays well with the sonic landscape of the music.” (EC)

Songwriter
Dua Lipa’s “Don’t Start Now”

Warren has had many hits to her name as a songwriter and a lead artist with the likes of the Chainsmokers, Khalid and Shawn Mendes. But she knew her work on Lipa’s “Don’t Start Now” had crossed a new zeitgeist threshold when the song went to No. 1 at radio the same week when the song’s chorus (“Don’t show up/Don’t come out …”) became a coronavirus meme in the early days of quarantine. “That was pretty funny, because we obviously had no idea what would be happening when we wrote the song,” Warren says. (Andrew Hampp)

EVP of A&R, Republic Records
Post Malone’s “Circles”

Helping propel the rollout strategy for “Circles,” the second single released from Malone’s 2019 album “Hollywood’s Bleeding,” was Arnold, the A&R division’s Post whisperer. Working in tandem with Republic’s marketing, radio and commerce teams, the song traversed radio formats (Top 40, Rhythm, Adult Contemporary and Alternative) and ruled streaming — no TikTok gimmick required. “It always comes back to Post’s melodies for me,” says Arnold of the record and its universal appeal. “They’re so catchy and he pulls you into his world immediately.” (ES)

Keefa Black
VP of Urban A&R, Atlantic Records

Dallas Martin
SVP, Urban A&R, Atlantic Records

Roddy Ricch’s “The Box,” “High Fashion”

Newcomer rapper Roddy Ricch was made for 2020, notching appearances on four of the most consumed songs of the year — two on his own (“The Box,” “High Fashion”), the others as features (DaBaby’s “ROCKSTAR,” Mustard’s “Ballin’”). But it was when “The Box” hit No. 1 without any paid promotion that Atlantic’s A&R execs recognized a runaway hit record. “The ad-libs he put into the beat, that everyone thought was part of the beat, was the most essential thing that could happen to that record,” says Martin. “A feeling you get when you hear something for the first time, that first 10 seconds you’ll remember for the rest of your life.” Adds Black: “It’s the unknown. Even to this day, everyone’s asking what is ‘The Box’? You could probably tell me a million things you think it is. He’s able to illustrate a story and still leave a question.” As for “High Fashion,” Martin credits “the ladies” for connecting to it. “All artists do records for the ladies, no matter what they say,” he adds. (SJ)

Brooklyn Johnny
Producer, A&R Exective

Darrale Jones
SVP of Urban A&R, Atlantic Records

Cardi B’s “WAP” f. Megan Thee Stallion

When Cardi B is in the studio, chances are Brooklyn Johnny is nearby. Steering the A&R ship for one of the most well-respected rappers in the game requires risk-taking from all, not the least of which tested the label’s limits when it comes to risqué bars. Beating all odds and soaring into the top position within its first week, “WAP” was simultaneously paired with a cinematic visual (co-starring Kylie Jenner, Normani, Rosalia, real snakes and big cats) impressively shot during COVID-19. Johnny believes the track was boosted by the views. “One thousands percent,” he says, “Because you got to see it, you didn’t just hear it. She shot an amazing video. She brought the energy.” Adds Jones of what made “WAP” pop: “It was the beat, the chorus, lines like ‘touch that dangly thang…’ Cardi knew certain trigger points that females would relate to, and that’s one of them. It was the quotables, the movement, the feel of the song.” (SJ)

Tunji Balogun
EVP of A&R, RCA Records

Keith Naftaly
President of A&R, RCA Records
Doja Cat’s “Say So”

RCA Records A&R executives Tunji Balogun and Keith Naftaly knew immediately that they had a hit on their hands with Doja Cat’s “Say So.” “I got that feeling every A&R gets when you hear a smash, like you’re about to burst,” says Naftaly. “A retro disco pop song with sweet vocals and flirtatious lyrics? …That song right there is gonna make you a global pop star.” Enter: Balogun, who orchestrated for superstar rapper Nicki Minaj to feature on a remix. The song took off on TikTok, and reached No. 1 on the Hot 100 – the first collaboration between two female rappers to ever accomplish the feat. But Naftaly is most proud of Doja Cat’s warm personality – and that she thanked him for his hard work. “You’d be surprised by how many artists forget the “thank you” part,” he says. (ES)

Head of A&R, 300 Entertainment
Megan Thee Stallion’s “Savage” f. Beyonce

The staff at 300 Entertainment couldn’t be prouder of making and breaking “Savage.” “It was a monstrous moment for Houston and for Meg,” says A&R head Bouab. “Coming off of ‘Hot Girl Summer’ the previous year with Nicki [Minaj], then you get a record with Beyoncé, I don’t think you could get higher than that. For Houston, that was a moment: two ladies the best at what they do collaborating was simply amazing.” Bouab has been central in signing 300’s biggest talents, including Megan Thee Stallion, who has amassed over two billion streams to date. (SJ)

President of West Coast Creative, Republic Records

The Weeknd’s “Blinding Lights”

As A&R to The Weeknd, Ariana Grande and other marquee stars on the Republic roster, Goldstein’s expansive career reached a new peak in this lockdown year, as The Weeknd’s “After Hours” album and smash single “Blinding Lights” became his biggest hit to date. She played no small role in making it happen. “I introduced Abel [The Weeknd] to Max Martin in 2013 when I asked him to feature on the Ariana Grande song, ‘Love Me Harder,’” Goldstein recalls. The pair have worked together on every album since — including the smash “Can’t Feel My Face” — and four years later, lightning struck again: “‘Blinding Lights’ had already been out for nearly twelve weeks by the time the [‘After Hours’] album arrived on March 20,” Goldstein says. “Ten days later, it hit No. 1. It’s become his biggest single worldwide and has so far defined the sound of pop music in 2020.” (JA)

Caroline “Baroline” Diaz
VP of A&R, Interscope Geffen A&M
DaBaby’s “ROCKSTAR” f. Roddy Ricch

North Carolina rapper DaBaby is a true artist development success story, breaking out in a big way in 2020 with the piercing “ROCKSTAR.” Appropriately provocative for the times, the song featuring Roddy Ricch has defined the sound of a tense year. But it’s also a moment of celebration for A&R executive Diaz (pictured at center). “His work ethic is like no other,” she says. “DaBaby’s the type of artist he’ll shoot three videos, wake up in the morning and still be on time for radio and press. He’s always willing to learn, listen, and develop his craft to the next level.” (Shirley Ju)

Tim Glover
SVP of A&R, Interscope Geffen A&M
Lil Mosey’s “Blueberry Faygo”

When Glover discovered Lil Mosey, the Seattle rapper was only 14 years old but full of promise. Noticing his unique tone and impressed by Mosey’s ability to hold a melody at such a young age, Glover invested good old-fashioned A&R in the talent, reaping the rewards this year with the delectable “Blueberry Faygo.” The song’s road was not easy as the label battled leaks and clearance issues (sampling Johnny Gill’s “My My My”), but it hit and has gone on to hail over 515 million streams in the U.S. alone. Urban and Rhythmic Radio love the record as does TikTok. Adds Glover of the now 18-year-old: “Mosey has the kids, they listen to him. So many took part in this dance and helped make it an anthem.” (SJ)

Nicole Wyskoarko
Co-Head of A&R, Interscope Geffen A&M
DaBaby’s “Rockstar”; Lil Mosey’s “Blueberry Faygo”

With a long background in law and a client list that spanned Meek Mill to André 3000, the Los Angeles native joined the fold at IGA as executive VP urban operations in March 2018 and became co-head of A&R in October, spending much of her time managing the A&R team and the imprints’ swath of releases. Under her purview, artists like Kendrick Lamar and Ella Mai added Grammy Awards to their respective mantles and, over the past year, newer acts like Lil Mosey and DaBaby flourished with “Blueberry Faygo” and “ROCKSTAR” featuring Roddy Ricch, the latter of which became one of 2020’s biggest hits. “It felt like the whole world acknowledge DaBaby as the superstar — and ‘rockstar’ — that he is,” she says. (SJH)

Head, A&R, HITCO Entertainment
Saint Jhn’s “Roses”

Back when artist Saint Jhn was better known for penning tracks for Usher and Jidenna, Johnson saw his potential as a solo artist. Saint Jhn had already recorded what would become his breakthrough single “Roses” in 2016, and it was one of the first songs he played for Johnson when they met, prompting the A&R honcho to sign him in 2018. After Kazakh producer Imanbek remixed “Roses” in 2019 and the track gained momentum in Russia and France, HitCo president Joel Klaiman struck a deal with Imanbek’s label Effective Records and poured gas on an already combusting hit. To date, it’s amassed over a billion spins on Spotify and inspired remixes with Future and J Balvin. Says Johnson: “It’s always a proud moment when the world gets to experience the greatness in an artist you always knew was there.” (SJH)

Director, Data Strategy, Alamo Records
Trevor Daniel’s “Falling”

It’s been a slow burn for Trevor Daniel’s emotive “Falling,” which took two years to climb its way into the Top 40. All the while, 22-year-old A&R Adam Lerro has been by Trevor Daniel’s side, believing in and pushing the record until it hit No. 1 this summer. A contributing factor to the song’s success was the TikTok community, millions of whom filmed relationship-themed clips to the song’s hook. For Lerro, the lyricism of “Falling,” combined with its airy and spacious production, were what made it stand out. “At its core, it’s a love song that acknowledges overcoming a loss of hope and past relationship failures, which resonates with millions,” Lerro says. “I think everyone can picture someone in their head when they hear the lyrics.” (ES)

SVP of A&R, Sony Music Nashville
Maren Morris’ “The Bones”

Lindsey knows the bones of Morris’ career well, having worked with the singer since even before she signed her Sony contract in the fall of 2015. On the basis of two albums she’s helped guide, Morris has become the new queen of young country, if her back-to-back No. 1 country hits and leading three CMA Awards last month are any indication. Of “The Bones,” Lindsey says, “‘The house don’t fall when the bones are good’ — what a testament to having a solid foundation in whatever relationship you’re in. Especially in 2020, when we’re all looking for a sense of stability and normalcy, I think this comforting message is what captured so many fans across the world.” (CW)

Co-Presidents, Elektra Music Group
Tones and I’s “Dance Monkey”

TikTok might be the talk of the town, but “if you’re looking in one particular space or for something specific, you’ll miss something out-of-the-ordinary,” Nadel (pictured at right) says. That’s how Tones and I was discovered: the old-school way, busking in Byron Bay, Australia. But it was Elektra’s next steps that elevated her into a global chart-topper. Easterlin and Nadel were already in talks with management after an earlier single, “Johnny, Run Away,” caught their attention, but after receiving a video of her performing “Dance Monkey,” they promptly connected with global partners to push the track. “We saw how immediate [the song’s success] was in Australia and felt we could replicate that,” Nadel says. Adds Easterlin: “The song’s vocal is actually an interesting thing, because it jumps right out at you, and people who get it, absolutely love it. And even those who don’t necessarily love her voice still say they can’t get the song out of their head.  That’s a testament to the strength of the melody.” (Leena Tailor)

President, HITCO Entertainment
Saint Jhn’s “Roses”

While Imanbek’s punchy remix of Saint Jhn’s 2016 song “Roses” was conquering Europe and Asia late last year, there was little sign that the track would click on American radio, too. But Hitco Entertainment boss Klaiman made sure “Roses” bloomed Stateside. “We created an international wave while setting the song up the U.S.,” he says, so that “by the time we went hard in the States, it was an undeniable hit.” Indeed, “Roses” was all but inescapable this summer, dominating the upper echelons of U.S. radio and streaming charts by July. “An organic TikTok campaign alongside our mainstream U.S. push helped us fuel the track to the highest levels,” he says. The remix nabbed a Grammy nomination last month. (CA)

Co-founder/CEO, 300 Entertainment
Megan Thee Stallion’s “Savage”

Liles’ work at 300 is the culmination of a diverse 30-plus year career that has included stints as an artist, an EVP at WMG, manager of Trey Songz, Big Sean, Mariah Carey and D’Angelo, and president/CEO of Def Jam Records. While 300 has seen success with Young Thug, Migos and others, it may be looking at its biggest hit yet with Megan Thee Stallion, whose “Savage” remix featuring Beyoncé helped position the young rapper as the breakout star of 2020. Yet philanthropic work is also a major part of Liles’ mission: “My proudest moment with ‘Savage’ has been seeing two Houston natives who are personal friends collaborate and give back to their home communities, with all their proceeds from the song going to Bread of Life,” which serves hot meals to the homeless in Houston. (Jem Aswad)

CEO, the Darkroom
Billie Eilish’s “Everything I Wanted”

As part of the tightly knit team that united around Eilish early in her career, Lubliner and his Interscope-affiliated Darkroom label have been key architects of her seemingly overnight (but actually intricately planned) four-year rise, and “Everything I Wanted” is a part of it. “We’ve always focused on keeping a constant flow of content and music, and six months after we released her album felt like the perfect time,” he says. Of course, that album, “When We All Fall Asleep, Where Do We Go?,” won six Grammy Awards earlier this year, and much of its success is due to Lubliner’s longview. He founded Darkroom as a 20-year-old USC student and gradually transformed it from an EDM-focused marketing company into a multifaceted enterprise that includes management and branding. (JA)

General Manager, Columbia Records
Harry Styles’ “Adore You” and “Watermelon Sugar”; Arizona Zervas’ “Roxanne”

As GM of Columbia, Mallory oversees a roster of artists spanning from Lil Nas X to Bob Dylan, but one of her highlights this past year has been working with Styles. “His graciousness makes you want to run through walls for him,” she says. “Between the DSPs, the radio stations and the fans, people knew how special his album was from the first time we played it for them,” particularly “Adore You” and “Watermelon Sugar.” “We knew this would be Harry’s year,” she says. Zervas’ viral hit had its own journey but connects to the bigger picture. Says Mallory: “As an industry, we must make sure we balance viral hits with complete and well thought-out album campaigns to ensure that music has staying power.”

Founder/CEO, Mogul Vision
Lil Mosey’s “Blueberry Faygo”

Lil Mosey manager Marshall credits pre-release TikTok leaks for providing early sparks for this platinum hit. That exposure “took on a life of its own and we just amplified it,” he says. “We listened to the fans and let them dictate the focus song.” “Blueberry Faygo” soon reached No. 6 on the Rolling Stone Top 100 and topped the Rhythmic chart. The song’s instant appeal, says Marshall, is its hooky chorus, the sample of Johnny Gill’s “My, My, My.” And, of course, TikTok. “Music discovery is happening at a large scale on TikTok,” says Marshall. “Lots of viral hits and moments are happening on the platform.” (Geoff Mayfield)

Founder/CEO, Alamo Records
Trevor Daniel’s “Falling”

Moscowitz is a rather legendary figure in the business, having helped steer Def Jam Records from its scrappy early days to industry dominance, and following his tenure there with stints at Asylum, Warner Bros. Records and 300 Entertainment. Now heading his own label, Alamo Records, under Interscope, Moscowitz oversees a hip-hop heavy young artist roster, but it was with R&B artist Daniel that his label scored its biggest hit of the year, however belatedly. “Falling” was released back in 2018, but began gaining traction well over a year later via TikTok videos. Moscowitz capitalized on the momentum, releasing a music video in early 2020 and helping buoy the song to the upper brackets of the charts — the label says it has amassed 618 million streams in the U.S.

Tyree “DJ Drama” Simmons, Don Cannon, Leighton “Lake” Morrison
Co-founders, Generation Now

Neelam Thadhani
G.M., Generation Now

Jack Harlow’s “Whats Poppin”

The boutique, Atlantic-affiliated label first made waves with the success of Lil Uzi Vert, and this year added another major smash, Harlow’s “Whats Poppin.” Morrison was most chuffed seeing the rapper make it onto “The Tonight Show Starring Jimmy Fallon.” “The first TV performance on Fallon was huge,” he says. “It was a proud moment for us to see Jack really work hard and achieve a goal he set out to do early on.” (Andrew Barker)

CEO, South Coast Music Group
DaBaby’s “Rockstar” f. Roddy Ricch

As DaBaby’s manager and the steward for the South Coast label, Taylor had a clear goal for “Rockstar”: to move DaBaby beyond Urban radio to Rhythmic and Pop. Mission accomplished. The song dominated Rolling Stone’s Top 100 and spent nine weeks at No. 1 on Billboard’s Rhythmic chart. “I got answers from radio before I got answers from streams and analytics,” says Taylor. “Rhythmic led Urban for the first time on any of DaBaby’s songs — and took it to No. 1 before Urban did. That’s never happened before.” (GM)

“Team Doja,” SALXCO – 10Q Management
Doja Cat’s “Say So”

Combining forces with the Salxco management empire, 10Q Management members, Asrat and Kaplan, teamed up with Dillard and company founder Wassim “Sal” Slaiby (Variety’s Hitmakers Manager of the Year).  Dillard, a former Universal A&R exec; Asrat, who co-wrote “Say So” and manager/attorney Kaplan are the core Doja Cat team members.  “When she left the office, I felt like we’d already had a No. 1 record,” Slaiby recalls of their first meeting.  Dillard says the song “appeals to all age groups” and points to the impact of TikTok.  “A popular dance to the song when viral immediately, and from there, the record grew massively.” The song peaked at No. 2 on the Rolling Stone Top Songs chart and enjoyed a 21-week run. (JA)

Scooter Braun
Founder, SB Projects; chairman, Ithaca Holdings;

Allison Kaye
President, SB Projects; partner, Ithaca Holdings

Justin Bieber’s “Intentions” f. Quavo

SB Projects’ power duo Braun and Kaye have been rolling out hits for Bieber for more than a decade, and “Intentions” is no exception. As the second single from Bieber’s first album in five years, the song was already poised for success, but a feature from Migos rapper Quavo and a moving music video sent it over the edge. “The Audibles produced a pop/R&B record that is an earworm that is fun to sing along to,” Kaye says on behalf of herself and her business partner. “Quavo and Justin have such great energy together and the song is about good intentions, love and support — which are messages that we always need, but especially in times like these.” “Intentions” reached No. 3 on Rolling Stone’s Top Songs chart and was certified double platinum. (ES)

CEO, Circle of Success
Saint Jhn’s “Roses”

A co-founder of Roc-a-Fella Records back in the 1990s, Burke had just emerged from a long hiatus from the music business when he signed rapper Saint Jhn to his Circle of Success management company in early 2019. But he took little time making a splash upon his return. Plenty of once-overlooked songs have found themselves suddenly climbing the charts thanks to use in viral videos, but few have been capitalized upon as well as Saint Jhn’s “Roses.” Initially released way back in 2016, the song was remixed by Imanbek as a single in late 2019, and quickly became a TikTok sensation. That remix begat another, featuring Future, in early 2020; and then than begat yet another, this time with J Balvin, that finally pushed the song all the way to No. 4 on the charts. (AB)

Co-manager, the Weeknd, SALXCO; co-founder, XO Records; founder/CEO, YCFU
The Weeknd’s “Blinding Lights”

Compared to Salxco’s flamboyant founder Wassim “Sal” Slaiby, Esmailian is definitely the quieter of the Weeknd’s two co-managers, but make no mistake, he’s a foun-dation of the entire company and one of its first executives. “Me and Cash and [Weeknd’s longtime creative director La Mar Taylor], we’ve been together as this team for over 10 years now,” Slaiby says. In addition to his work with the Weeknd, Esmailian brought in the rapper Nav — who has scored two No. 1 albums in 2020 — and is a co-founder of the Weeknd’s XO label. Asked about his proudest moment in the history of smash “Blinding Lights,” he says simply, “It’s almost been a year since its release, and it is still in the top 5.” (JA)

Co-founders, Best Friends Music
Billie Eilish’s “Everything I Wanted”

One of the many remarkable things about the rise of Billie Eilish is the fact that her core team coalesced around her within months of her debut single, “Ocean Eyes,” being posted on SoundCloud late in 2015. Central in that team are Rukasin (pictured at left) and Goodman, who came up managing Warped Tour bands but began their Eilish journey when her brother Finneas reached out seeking contact with a producer the managed. The first phase of that journey reached its climax in January, when Eilish’s debut album, “When We All Fall Asleep, Where Do We Go?,” won six Grammys. Surprisingly, “Everything I Wanted” was released while the team was still working the album, but it didn’t slow anything down. “I truly believe it combined an incredible emotionally honest message from Billie mixed with an elegant and very catchy chorus melody,” Rukasin says of the song’s magic, “and production that really leaves space for the song to shine through. I also think it was a beautiful evolution sonically for Billie since the album, and just resonated in such a wonderful way.” (JA)

Jackson Walkden-Brown
CEO, Artists Only

Regan Lethbridge and David Morgan
Co-founders and directors, Lemon Tree Music

Tones and I’s “Dance Monkey”

There’s a unique element of “Australianism” which Walkden-Brown (pictured at top left) believes “shines” through Tones and I’s music, including “Dance Monkey.”

Morgan agrees: “She writes from the heart and this track was a description of her experiences performing on the streets in Australia.”

Seeing the song performed at a tiny Brisbane club gave Lethbridge (pictured at top right) an early peek at its potential. “The crowd singing was so loud the roof was about to lift off. That live connection’s what it’s all about,” he says.

Releasing the song independently, three avenues amplified “Dance Monkey’s” popularity – getting played on tastemaker Australian station Triple J, a viral performance at music festival Splendour in the Grass, and featuring in Spotify’s Today’s Top Hits playlist. “We were in early conversations with labels and [Spotify’s add] helped open more leverage in negotiations,” Morgan says, adding that once they signed with Elektra Records and had an active global team, the track became “unstoppable.”

While Lethbridge praises the “genius” melody, he says it’s Tones and I’s distinctive vocal which elevated its success. Walkden-Brown agrees. “One of the great pop melodies of all time. But would it be as successful with another vocalist? I doubt it!” (LT)

Founder and CEO, London Ent.
Post Malone’s “Circles”

Post’s manager Dre London played a pivotal role in making “Circles” a global sensation. He oversaw the world premiere of the song and its unique visual, which featured half of the video on two separate Spotify playlists, requiring two phones to view the full experience. For London, although the COVID-19 pandemic put the business on pause, “Circles” continues to dominate the radio waves — and the charts — due to its universal appeal and reliability. “When all the unfortunate events of 2020 happened with the pandemic, radio needed something that was uplifting and reliable,” London says, “so ‘Circles’ has continued to have a long lifespan.” In fact, its tail will get even longer as the song competes for record and song of the year at the 2021 Grammy Awards. (ES)

Manager, Red Light Management
Gabby Barrett’s “I Hope”

“I Hope” has become so huge, as the year’s No. 1 streaming country song, that it’s hard to imagine that Barrett had trouble finding believers after her run on “American Idol.” An exception was her manager, who released “I Hope” independently via Red Light, leading to a fateful yes from Warner Nashville where others had said no. Beyond “Gabby’s big vocal,” Lord says, “the strongest element to the song is the lyrical twist. It draws you in to think it’s about a girl still wishing the guy well after the relationship ends,” before taking a karma/vengeance turn. “It’s become an anthem because it vocalizes what a lot of people have felt after a bad breakup.” (CW)

Co-founders, TaP Music
Dua Lipa’s “Don’t Start Now”

Dua Lipa managers Mawson (pictured at right) and Millett of TaP Music had another busy year, as the singer released an album right at the beginning of the pandemic, and remarkably saw huge success with it, especially the single “Don’t Start Now.” “The song is packed with clever hooks and possibly the bassline of the year,” boasts Mawson. “We’ve always believed artists should be at the center, driving the creative,” adds Millett of the retro-inspired record, which Lipa co-wrote and has racked up a whopping 2 billion streams on Spotify since it was released late last year. Mawson says the song “sounded very different compared to other records dominating U.S. radio [this year]. We’re collectively constantly proud of Dua and every-thing she’s achieved and how hard she works to achieve it.” (CA)

Manager, C3 Management
Jack Harlow’s “Whats Poppin”

Thomas has been working with Harlow since 2016, signing the rapper as a client just two years after beginning his artist management career at C3 Presents. In 2020, all that work paid off in spades when the Kentucky native’s “Whats Poppin” truly popped off, clocking more than 100 million views on YouTube and reaching No. 2 on the Hot 100. As Thomas remembers: “The numbers grew steadily every single day for six months, continually outperforming other tracks on the playlists. Right as the streams began to crescendo, we dropped the official remix [featuring DaBaby, Lil Wayne, and Tory Lanez], which skyrocketed the song into a new stratosphere.” (AB)

Mike Alexander
EVP, head of international marketing, Republic/Island/Def Jam

Tim Hrycyshyn
VP, digital marketing, Republic Records

Kevin Lipson
EVP, commerce, streaming & digital strategy, Republic Records

The Weeknd’s “Blinding Lights”; Post Malone’s “Circles”; Drake’s “Toosie Slide”

From a Spotify AI avatar and an Instagram AR lens for the Weeknd to a dual-phone video, 3-inch vinyl and even a cassette single for Post Malone, Republic employed a large tool kit to deliver No. 1 hits. Both set Billboard Hot 100 records: Weeknd’s “Blinding Lights” for 32 weeks in the Top 5, Malone’s “Circles” for 39 weeks in the top 10. Lipson says his team coordinated “numerous audio/video streaming campaigns along with unique visual content, resulting in 2 billion-plus global streams” for the Malone track, overcoming the challenge of “building artist brands in the streaming space.” Alexander (pictured at top left), who also worked Drake’s “Toosie Slide,” calls “Circles” “a true global smash, transcending culture all over the world.” TikTok also played a role in the Weeknd’s success, not just because of the millions of user videos dancing to “Blinding Lights,” but also August’s the Weeknd Experience livestream, which racked up more than 2 million total views and smashed the TikTok record with 275,000 concurrent viewers at its peak.

SVP, Marketing, 300 Entertainment
Megan Thee Stallion’s “Savage” Remix f. Beyoncé

When Megan Thee Stallion’s EP “Suga” was released in early March, Bass was glued to social media to see which of the project’s nine tracks were raising their hands as early fan favorites. “It was between ‘Captain Hook’ and ‘Savage,’” says Bass, a nearly seven-year veteran of 300. “We thought ‘Savage’ would be more fun to do a TikTok to, by highlighting the different moods.” Within weeks, the Savage Challenge (and numerous parodies, including a “Tiger King”-themed one) swept the platform, followed by a smash remix featuring Beyoncé that netted Megan her first No. 1. Says Bass: “I was so happy for her, just knowing what that collaboration meant to her on so many different levels.” (AH)

Senior Director, Marketing, Atlantic Records
Jack Harlow’s “Whats Poppin”

How do you break a 22-year-old rapper from Kentucky in 2020? By treating the January rollout of his breakthrough hit “Whats Poppin” similar to a blockbuster film: the song’s audio and video premiered simultaneously on Jan. 21, quickly followed by a performance on “The Tonight Show Starring Jimmy Fallon” and high-profile sports and gaming syncs on ESPN, Fox Sports, Microsoft Xbox Game Pass Ultimate and “Call of Duty.” The song’s family-friendly content didn’t hurt, either. “The lyrics are relatively PG, so the song appealed to people outside his regular demographic,” says Bianchi. Case in point: “The school teachers in Georgia remixing the song to get their students excited for the new school year.” (AH)

Manager, Marketing, RCA Records
Doja Cat’s “Say So”

Bodnar, a three-year veteran at RCA, had many favorite milestones from helping Doja Cat cross over from internet darling to top 40 pop star with “Say So” — premiering the track’s music video alongside a February live performance on “The Tonight Show” chief among them. But when “Say So” finally went No. 1 in May, aided by a Nicki Minaj feature, the milestone doubled as a career first for Bodnar. “We knew the song always had the potential of getting there, and we were relentless up until the final moments to do our part to make sure it happened,” she says. “There were many sleepless nights, and getting there was a really special moment.” (AH)

Director, Digital Marketing, RCA Records
Doja Cat’s “Say So”

Released in November 2019, “Say So” helped usher in some of the defining trends in 2020 hits: a disco-reviving beat, a record-breakng year for female rappers on the charts and the use of TikTok as a launchpad. Cuadros, who leads Doja Cat’s digital marketing at RCA, says the inflection point arrived last December when the song’s viral dance challenges on TikTok took off “out of nowhere. The spill over onto streaming platforms was almost immediate and by the time the new year came, two different ‘Say So’ sounds were trending on the app.” To help connect thematic dots, TikTok influencer Haley Sharpe was invited to cameo in the song’s official music video: a winning combination. (AH)

VP, Marketing, Atlantic Records
Roddy Ricch’s “The Box” and “High Fashion”

When Atlantic selected Ricch’s “The Box” as the fourth single from his debut album in January, Ellis knew she was working with something special. “My goal was to get ‘The Box’ in as many spaces as possible: press, social, playlists, leveraging Roddy’s following so that an organic moment would really take hold,” she says. Enter TikTok, where a viral mirror-wiping meme set to the song’s “ehh-errr” beat took off. That sent “The Box” to No. 1 on multiple charts, where it lingered long enough to become the most-consumed song of 2020. Follow- up “High Fashion” made an equally big connection for its appeal to Ricch’s female fanbase. “Women, particularly Black women, have been the backbone of the community socially and culturally and I thought it important to highlight that through the marketing of this record,” Ellis says. (AH)

SVP, Sales, Columbia Records
Arizona Zervas’ “Roxanne”

Record companies need to be nimble these days and Columbia has proven that in its signings — including Rhode Island artist Zervas, the first fully independent, unsigned artist to top the Spotify U.S. Top 50. Columbia chief Ron Perry took notice and acted swiftly. “Some songs just have the DNA of a hit record,” says Gallo, the executive tasked with analyzing and strategizing the metrics. “From a data perspective, this song checked every box. Once a new listener heard it, they added it to their personal playlist.” And while the song was already exploding on TikTok, Gallo led the way to it topping several DSP charts. “We pride ourselves in our data analysis at Columbia. It helps us make critical decisions that positively impact the trajectory of our releases.” (Roy Trakin)

Hannah Gold
VP, marketing, Interscope Records

Spencer Moya
Senior Director, Digital Marketing, Interscope Records

Billie Eilish’s “Everything I Wanted”

It feels like all “everything I wanted” needed for a fast start to double-platinum success was to be the next Billie Eilish single. “This was the first release after her blockbuster debut album and anticipation was at an all-time high for new music, so that immediately grabbed the listeners’ attention,” says Gold. “The message told a very honest story about the downside of getting everything you want that I think really resonated with listeners,” adds Moya. Gold thinks fans also connected with “the unbreakable bond between her and her brother” — producer and fellow hitmaker Finneas — that the song expresses. “Finneas’ production is gorgeous and it showed a different side of Billie,” Moya adds. “It really was all about the music for this one, not just one viral marketing moment. We made sure there were multiple meaningful moments in the weeks and months after release to keep the momentum.” (GM)

Marleny Reyes
SVP, marketing, Republic Records

Jim Roppo
EVP and general manager, Republic Records

The Weeknd’s “Blinding Lights”; Post Malone’s “Circles”; Drake’s “Toosie Slide”

From a marketing perspective, Republic vet Roppo sees a wider swath of consumers than ever before. “Listeners absorb music in bits, pieces, and fragments,” he says. “They’ll hear a hook on an Instagram story or a TikTok video, almost as if these snippets tease the songs out like movie trailers.” That was especially true for Drake’s “Toosie Slide,” which built so much awareness on the video platform before its release that it was able to debut at No. 1 on the Hot 100. A “Tonight Show” preview for Post Malone’s “Circles” proved TV still delivers in the age of social media and “really asserted Post Malone as a crossover star, able to deliver a pretty timeless yet fresh pop song of his own,” adds Roppo. All three delivered joy amidst the pandemic, but Reyes was particularly heartened to see “Blinding Lights” inspire “essential workers to do the TikTok dance” while Roppo recalls watching “everybody do the ‘Tootsie Slide’ dance online in the middle of COVID-19 made us all proud.” (GM)

Danny Rojas
Senior Director, Marketing, Interscope Records

Garrett Williams
VP, marketing, and head of operations, South Coast Music Group

DaBaby’s “Rockstar” f. Roddy Ricch

The marketing crew behind “ROCKSTAR” says the song’s seven weeks at No. 1 on the Hot 100 flowed from a confluence of drivers. “Social media, radio and playlisting all seemed to sync up at the same time,” says Williams. “When that happens, it’s a blessing. Each outlet feeds off of the other, making the push even stronger.” The overlap of those market drivers fits Rojas’ perception of today’s landscape. “Music discovery happens everywhere. You could stumble upon something on social media, a streaming platform, a live show, etc. As marketers it’s our role to make sure we are putting the music in front of the right audience.” Williams attributes the track’s appeal to its “sing-along chorus and melody plus a beat that grabbed listeners. Then DaBaby and Roddy Ricch’s verses took the song to a whole other level.” Adds Rojas: “Sethinthekitchen killed the production, Roddy was an incredible addition. Sonically, the record offers a great look into DaBaby’s range as an artist.” (GM)

SVP, Marketing, Atlantic Records
Cardi B’s “WAP” f. Megan Thee Stallion

St. Hubert is as candid as Cardi and Megan Thee Stallion when it comes to describing the It factor that took “WAP” to No. 1 for multiple weeks and made it one of the year’s defining cultural (and meme-able) moments. “It’s the word ‘pussy,’” St. Hubert says without flinching. “It’s crass, it’s lewd, it’s NSFW — Cardi took the word and made it powerful. She made women feel empowered and the boys blush like school children.” St. Hubert and her team made sure the highly quotable song and its equally head-turning video were teed up for a simultaneous launch that had fans and talking heads buzzing for weeks after. “By the time they realized what ‘macaroni in a pot’ was, we were already at No. 1,” she adds. (AH)

Michelle Burden
National Director, Urban Promotion, Atlantic Records;

Juliette Jones
EVP, urban promotion, Atlantic Records;

Motti Shulman
VP, rhythmic promotion, Atlantic Records

Roddy Ricch’s “The Box” and “High Fashion”; Jack Harlow’s “Whats Poppin”

“The Box” soared to the top spot on the Rhythmic format alongside “High Fashion” at No. 2, DaBaby’s “Rockstar” (featuring Ricch) at No. 3 and “Whats Poppin” at No. 4. When it comes to airplay, Ricch has become a PD favorite, and for good reason. Says Jones: “A lot of times with big hits, there’s a breakout lyric. For ‘The Box,’ it was definitely ‘Bitch, don’t wear no shoes in my house!’ People thought it was so funny, they kept repeating it.” Following the success of “The Box,” Burden notes that Ricch’s authenticity shone through. “As an artist, he is who he says he is and his fanbase definitely appreciates him for that,” she says. Of “Whats Poppin,” the team praises Harlow’s persona. “It was honestly him and his willingness to engage, because we’re in a different time,” says Shulman. “Jack was so charismatic in doing every interview, every drop, everything we asked of him, and it paid off.” (SJ)

EVP, Promotion, Warner Records
Dua Lipa’s “Don’t Start Now” and Gabby Barrett’s “I Hope”

It was an embarrassment of riches for Chester, who saw Dua Lipa’s “Don’t Stop Now” and Gabby Barrett’s crossover hit “I Hope” immediately embraced by radio. With “Don’t Stop Now,” Chester and his team leveraged the full support of Lipa, who participated in initial playbacks with radio programmers just before the pandemic locked down almost all in-person promotion. “She was able to articulate her vision for her upcoming album with passion and laser precision,” says Chester, who arrived at Warner from Scooter Braun’s SB Projects. “After every meeting, our confidence grew stronger and stronger. It became clear to us that Dua had hit on a sound and tone that audiences were craving.” Chester cites the song’s tempo and driving beat, which even includes a cow bell — putting a youthful spin on a nostalgic disco/dance sound. As for “I Hope,” Chester points to its “supportive tone and lyric, a beautiful melody, and then takes a turn when the hook comes in giving the song confidence and attitude… you can’t help but sing along at first listen.” Plus, a Charlie Puth feature didn’t hurt. (Michael Schneider)

Nino Cucinello
EVP, Rhythm Promotion, Interscope Records;

Keinon Johnson
SVP, Head of Urban Radio Promotion, Interscope Records;

Larry Khan
SVP, Urban Radio Promotion, Interscope Records

DaBaby’s “Rockstar” f. Roddy Ricch; Mustard’s “Ballin’” with Roddy Ricch

DaBaby’s “ROCKSTAR” ruled Urban radio, holding the No. 1 spot for a total of nine non-consecutive weeks. “It’s the record of the year, and of the moment,” says Khan. “The right emerging artist getting his crown at the right time. It was all the stars aligning and a great piece of music.” Colleague Johnson attributes the song’s tipping point to when DaBaby delivered a Black Lives Matter remix coupled with a buzzed-about performance on the BET Awards. Adds Cuccinello: “It hit all peaks at the same time, rolled through between all streaming platforms and radio.” The trio of promotion executives also helped break “Ballin,” which Johnson says benefitted tremendously by featuring Roddy Ricch. “The affection of his voice and the hook stuck in people’s head,” adds Johnson. Khan calls Mustard a “master creator,” credited the producer-artist’s “creativity, his drive and his vision.” (SJ)

EVP and Head of Promotion, Def Jam

Justin Bieber’s “Intentions” f. Quavo

Def Jam veteran Farag knew that “Intentions” and the album it hails from, “Changes,” would be a bit of a challenge to promote, given its departure from Bieber’s previous release, the 10-time platinum “Purpose.” “[It’s] a completely different sound,” she says. “Not only sonically but lyrically. It portrayed a more introspective, mature Justin and a more R&B-leaning sound, which just naturally moves at a slower pace on playlists at both radio and DSPs. It took almost five months to get ‘Intentions’ to No. 1.” But a video with a philanthropic bent, plus strategic TV performances and consistent airplay pushed “Intentions” to the top. “It was the tenacity and diligence of my team that makes me the most proud,” she says. “It took a lot of patience and strategic planning to keep radio involved for as long as they did.” (MS)

VPs, Rhythm Promotion, RCA Records
Doja Cat’s “Say So”

This power-packed pair of rhythm promo execs helped fuel the rise of L.A.-born, New York-raised multi-hyphenate Doja Cat’s TikTok breakthrough. It was the fourth single from her “Hot Pink” album, but only the second promoted at radio following the success of “Juicy.” Explains Giamela: “In a time of uncertainty, Doja brought a fun, light-hearted vibe to listeners, exuding positivity and confidence in relationships.” Her RCA colleague Valentini noted how his department ran with the TikTok success to follow the momentum rather than promote a new single. “As radio promotion executives, we’ve learned to incorporate these trends into our strategy and then amplify them through our efforts at radio,” he says. “Our decision to change the direction of the project and follow a social trend proved to be correct.” Part of the strategy, according to Giamela, was to promote Doja as “an artist with longevity… not a one-hit wonder.” A highlight of the campaign for the execs? Seeing the record knock Roddy Ricch’s massive “The Box” out of the top spot at Rhythm radio and contributing to Doja’s first-ever crossover pop chart-topper. (RT)

EVP and head of promotion, Columbia Records
Harry Styles’ “Adore You” and “Watermelon Sugar”; Arizona Zervas’ “Roxanne”; Maren Morris’ “The Bones”

Gray and his Columbia promotion team’s approach to Styles’ songs was simple. As he explains: “Multiformat success is our guiding principle. Harry’s reach across so many demos really helped. In a Pop radio landscape lined with hip-hop, lo-fi and viral hits, he cut through with beautifully crafted songs. Having two straight multiformat No. 1 hits is a great source of pride.” To be sure, that streak has expanded to include the Zervas hit “Roxanne” as well as more recent entries by 24kGoldn (“Mood”) and BTS (“Dynamite”). Gray, who also worked Maren Morris’ crossover hit “The Bones,” adds that the key is timing. “Getting songs to their consumption and airplay cruising altitudes at the same time is nearly as pressing as maximizing both.” (RT)

EVP, Promotion and Artist Development, Sony Music Nashville
Maren Morris’ “The Bones”

Of Hodges, her label’s Nashville radio stalwart, Morris says, “I depend on his honesty — he’ll tell me when shit’s not looking good or it’s looking real good.” It was definitely the latter when the singer landed successive country No. 1s with “Girl” and “The Bones.” On the latter, Hodges passes credit to the Columbia New York staff for “an amazing accomplishment at non-country formats. Watching it peak at No. 1 on the AC chart, many weeks after peaking on the country, Hot AC and Top 40 charts, was an amazing moment for Maren — the first time that’s happened for a country artist/song since 2009” (when Lady Antebellum’s “Need You Now” managed it). (CW)

Mike Horton
EVP, Republic Records

Dave Ingenloff
SVP Rhythm Cross Promotion, Republic Records

Gary Spangler
EVP Promotion, Republic Records

The Weeknd’s “Blinding Lights”; Post Malone’s “Circles”; Drake’s “Toosie Slide”

TikTok had everyone doing the “Toosie Slide” before the Drake song was released. Multiple radio formats embraced Post’s “Circles.” And the Weeknd’s “Blinding Lights” began as a sync for a Mercedes Benz commercial, but soon outpaced the artist’s “Heartless.” It’s a testament to the fact that music discovery comes from everywhere these days. Says Ingenloff (pictured at top right): “Radio, TikTok, Instagram, YouTube, Apple, Spotify.” Adds Spangler (bottom): “Radio is still a force in music discovery.” Playlisting and social media certainly expose a ton of new music. The label’s goal is to get all of these avenues to support at the same time.” It doesn’t hurt that all three songs seemed tailor- made for success, as Horton notes how “Toosie Slide” came with dance instructions that made it a natural for fans to participate in, while Spangler touts the “nostalgic feel” of “Blinding Lights” and Ingenloff points to the widespread, mainstream appeal of “Circles”: “When my aunt knows it, everybody knows it.”(MS)

Jon Lewis
SVP, Top 40 Promotion, Atlantic Records

John McMann
SVP, Pop and Crossover Promotion, Atlantic Records

Roddy Ricch’s “The Box” and “High Fashion”; Jack Harlow’s “Whats Poppin”

When Roddy Ricch’s debut studio album “Please Excuse Me for Being Antisocial” was released in 2019, “The Box” rocketed to the top of Spotify and Apple Music playlists almost immediately. Soon, Urban and Rhythmic stations added the track — and that’s when Lewis and McCann turned to pop radio. Says McMann: “Pop radio wasn’t very aggressive in trying to break new hip-hop songs but ‘The Box’ opened the door to giving these kinds of hits a shot much more quickly.” Ultimately, “The Box” went seven-times platinum. “The unique intro of Roddy’s sampled voice grabbed you right from the start and everyone loved the song — and then it just became a massive anthem for the masses,” Lewis says. Meanwhile, “Whats Poppin” was a hit on Spotify and Apple Music, but the remix with DaBaby, Tory Lanez and Lil Wayne is what turned it into a pop culture sensation. “It was Jack’s debut song and, to not only go No. 1 on Urban and Rhythmic,” says McMann. “But to get on certain mainstream Top 40 stations that never played hip-hop before was our proudest moment.” (MS)

EVP, Promotion, Capitol Music Group
Lewis Capaldi’s “Someone You Loved”

Capaldi had two gigantic hits in 2020: most recently, “Before You Go,” but also its predecessor, “Someone You Loved,” one of the biggest songs of 2019 and 2020. “Every department within the company came together — publicity, commercial, sync, promotion — and every external partner really leaned in with their belief,” Marella says of Scotland’s freshman sensation translating his UK stardom to America. “Of course, we never would have been able to achieve what we did had Lewis not given so much time to support the U.S. campaign.” Keeping Capaldi’s ballads alive at radio during a pandemic “was our labor of love and sense of purpose during the most difficult time.” (CW)

Tommy Nappi
SVP, Promotion, Elektra Music Group

Melanie Scull
VP, Promotion, Elektra Music Group

Tones and I’s “Dance Monkey”

As the infectious tune “Dance Monkey” began making its way around the globe, there was no guarantee it would hit in the U.S. “At the time it sounded like nothing else on Top 40 radio, which sometimes is a good thing,” says Nappi — but not always. Playing the song in an early meeting at Boston’s Top 40 WODS/Hot AC WWBX was nerve wracking, he confesses. But the influential station put “Dance Monkey” in rotation — and it immediately ranked in the top five in Shazam and sales in the market, he says. Other early adopters included New York’s Z100 and KHTS San Diego. “We could quantify the direct reaction from airplay to Shazam,” Scull says. “That ultimately rolled out across the country in every market, it felt like the perfect storm.” The song’s unusual vocals and its dance beat made it an infectious earworm that created both fans and pans. Adds Scull: “People either loved it or hated it, but guess what? They all knew it! I also love when months later, my suburban mom friends tell me how much they love that ‘Dance Monkey’ song. That’s when you know it’s big!” (MS)

President, promotion, Interscope Geffen A&M
Trevor Daniel’s “Falling”

A hitbreaker who earned her stripes over 25 years of promotion experience, Romano excels at taking Rhythm records and crossing them over to Top 40 success. To wit: the seven-month-long campaign for “Falling,” the L.A. singer-songwriter Daniel’s plangent, lo-fi confessional from 1 million Spotify streams last December. It built through a solid year of TikTok play, bolstered by 2.8 million unique videos, to No. 1 at Top 40 radio last July, generating 620 million streams and counting in the U.S. “To see a new artist do that on his debut song was incredibly fulfilling,” says Romano. “We couldn’t be more appreciative of radio’s enduring support.”

SVPs, Promotion, 300 Entertainment

Megan Thee Stallion’s “Savage” remix f. Beyoncé

In the middle of a crippling national pandemic, bold, sassy, self-created Houston native Megan Thee Stallion captured the zeitgeist with a TikTok “Savage Challenge”-fueled hit. Made all the more ubiquitous thanks to aremix with fellow Texan Beyonce, “The lyrics became s sticky mantra for a nation in desperate need of connection and levity,” explains 300’s Vaughan-Fruehe, whose pop team took the initial Urban and Rhythmic success and brought it home to Top 40. “Megan always exudes confidence, female empowerment and embraces her sexuality.” Sonaram points to the performer’s “powerful and creative performance on ‘Saturday Night Live’” as his own “proudest moment” during the promotional campaign. Colleague Stokes mentions Megan’s way of speaking to her audience through her music as critical to her success, citing the pop department’s parallel campaign to cross it over. For Vaughan-Fruehe, getting “Savage” to No. 1 on the Hot 100 marked not only a professional, but a personal triumph. “The entire company was fully engaged and invested. We knew we had to impact, Pop, Urban and Rhythm simultaneously.” (RT)

A&R Manager, Universal Music Group Publishing
DaBaby’s “Rockstar” f. Roddy Ricch; Megan Thee Stallion’s “Savage”

As the executive who signed Megan Thee Stallion and DaBaby to their publishing deals, Gelaw credits social media with helping both songs catch fire. TikTok in particular fueled “Savage.” “It became an anthem for women everywhere,” says Gelaw, while a Black Lives Matter version of DaBaby’s “Rockstar” gave the hit a second life that was “so powerful and the lyrics were impactful.” Both songs illustrate that the “internet has made it much easier for consumers to discover new music,” she adds. “People are finding their new favorite artist on playlists, TikTok, TV shows. No longer do gate­keepers dictate which artists we listen to.” (GT)

President of A&R, U.S., Warner Chappell Music
DaBaby’s “Rockstar” f. Roddy Ricch; Jack Harlow’s “Whats Poppin”

“As soon as I heard that guitar play­ing in the beginning, I knew ‘Rockstar’ was going to be huge,” says Press, Warner Chappell’s highest-ranking A&R executive in the U.S. “I think the world had been anticipating the collaboration between DaBaby and Roddy Ricch and they really delivered.” For “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, video director Cole Bennett provided clout, but the track was undeniable. “It was amazing to watch my friends and business partners at Generation Now break another artist,” says Press. “And I couldn’t be prouder of my producer, Pooh Beatz, for his role bringing the song to life, and following up with yet another smash record, DaBaby’s ‘Suge.’” (GM)

SVP, Nashville A&R, Sony/ATV Music Publishing
Gabby Barrett’s “I Hope”

As a publisher, Van Valkenburg took pride that “I Hope” was the first No. 1 for Barrett and co-writer Zach Kale (the third writer, Jon Nite, already had plenty of hits). “There is such a weight lifted off of you when you first ring that bell as a writer. Not only did it do wonders for their confidence, but they could turn to their families and say, ‘This is what all the work and sacrifice has been for.’ That’s a powerful mo­­ment I wish could happen for every creator.” The tune’s viral trajectory was unlike anything he’d seen in usually radio-first country music, as “this unstoppable wave where the song had millions of streams before it ever went to terrestrial radio.” (CW)

The Weeknd, Doja Cat, Ty Dolla $ign, Brandy, Bebe Rexha, Nav, Bryson Tiller, French Montana — those are just a few of the artists handled by the rapidly growing Salxco, the management-and-more concern founded by Wassim “Sal” Slaiby. The company, which has a partnership with Live Nation, also manages producers (Metro Boomin, London on Da Track, DaHeala) and houses the Weeknd’s XO label under its umbrella.

“Our company has grown fast,” says the 41-year-old Slaiby. “But we’ve been riding for almost 20 years.”
His journey began in Lebanon, which was torn by civil war at the time. His father died when Slaiby was just 10; he convinced his mother to help him emigrate to Canada when he was 15. “The war took a lot out of me, and I couldn’t live in Lebanon anymore,” he says. “It was really hard to leave everyone I knew and loved behind, but I think it made me the tough person I am today.”
Slaiby’s music industry career started after seeing a young fellow immigrant freestyle rapping on a Toronto street — Ahmad Kasem Balshe, aka Belly, who remains a key member of the Salxco “family” to this day. “I got into the business because of him saying, ‘Why don’t you manage us?’” Slaiby recalls. “At first I was like, ‘Uhh, what do I do?’ But I guess he just saw that I was very determined and serious.”
Within six years, the company they formed, CP Music Group, had become the dominant independent hip-hop and R&B label in Canada, but Slaiby had his sights set higher. “My experience was very focused on the Canadian market, and at the time it was difficult to be taken seriously in the U.S.,” he says. “But when we started working with Abel, we cracked that code — and crashed through the door!”
Abel was ambitious 19-year-old musician Abel Tesfaye, who went by the Weeknd. The artist’s first release — 2011’s “House of Balloons” mixtape — blew up and led to a lucrative joint venture with Republic Records. He’s since grown into one of the world’s biggest acts — next set to headline the Super Bowl. Yet “he’s the same fucking guy that he was when I met him, can you believe it?” Slaiby says of his client and friend. “Remember, I’m older than him, so I’ve always looked at him as a little brother. But since he was 19 years old, he’s always made the right decisions for his life and his career. It blows my mind. He’s the best of his generation and has a vision like no one I’ve ever seen, and that makes me execute at the highest level.”

The compliments run both ways. “One thing I love about Sal is his honesty,” Tesfaye told Variety earlier this year. “The problem with a lot of managers is they think they know everything. If Sal doesn’t know something, he’ll say so and find a way to learn. Plus, he’s very family-oriented and I’m like that, and I trust him like a family member. We actually knew each other when I was with someone else’s management and wasn’t in a great position. I think he sensed that, and we’ve been inseparable ever since. We learn from each other; it’s a real partnership.”

Monte Lipman, co-founder and CEO of Republic, is unsparing in his praise of Slaiby. “If you’re ever stuck in the middle of the sea without food or water, Sal is the person you want in the boat with you,” he says. “His positive energy, resourcefulness and determination to overcome adversity remains his greatest strength. In addition to being a beautiful person and devoted family man, it’s been amazing to watch his trajectory into a leading figure in our business.”

Even as Salxco has grown — to a staff of more than 50 — Slaiby has worked to keep a family vibe. It’s a concept he repeats often. “I don’t believe one person is capable of managing an artist’s entire career, I believe in management teams,” he elaborates. “That’s been key to our success.”
Salxco itself is a rainbow coalition of personalities and nationalities. “This company is built on diversity, and that’s another reason why we’re successful,” says Slaiby. “We want to be an inspiration to immigrants and the Black community and people who come from nothing. That’s what I have in common with a lot of my clients, and the next step for us is to take those voices and elevate them — and keep impacting the culture.”

There are few music industry vets who approach the level of royalty in the radio world that Andrea Ganis inhabits. “Atlantic was a powerhouse then as it is now, so I got to work legendary acts throughout my career,” says the New York native, who joined the label in 1980. “My early years began with the Rolling Stones, Bette Midler, Abba, AC/DC, Led Zeppelin, Genesis, Phil Collins, U2, Stevie Nicks and so many more, including songs that I forgot I promoted until I hear them in a store and point up and say, ‘I worked that record!’”

Ganis started her career as an assistant in Polydor Records and quickly became the first female on the company’s national promotion staff — a field that was dominated by men. After a stint at Infinity Records, she arrived at Atlantic and began a streak that continues today under the remarkably consistent current regime of co-chairs Craig Kallman and Julie Greenwald, who have steered the Warner Music label’s ship since 2004.

Formats and platforms change, and with a label as genre- and generation-spanning as Atlantic, Ganis has had a front-row seat to the history of modern music. “I love breaking music from so many different genres,” she says, name-checking the likes of Bruno Mars, Ed Sheeran, Cardi B and Lizzo. Then there’s Roddy Ricch. “Within the first two weeks, ‘The Box’ went from 33 million to 60 million streams,” she says, shifting into promo mode. “So we immediately targeted pop radio, which wasn’t as open to playing hip-hop artists out of the gate. The overall enormity of this song changed that. It was groundbreaking.”