Romain Vivien
Global Head of Music and President Europe, Believe
“This is a day I’ve been looking forward to for two-and-a-half years,” said Apple co-founder and CEO Steve Jobs on stage at MacWorld on 9 January 2007. “Every once in a while, a revolutionary product comes along that changes everything […] Today, Apple is going to reinvent the phone.”
The launch of the iPhone was nothing short of an earthquake. It became an instant hit, selling 1 million devices in its first 74 days. While it wasn’t the very first smartphone, its arrival, coupled with the subsequent launch of the App Store, thrust music portability, streaming, and subscription models into absolute hyperdrive. Looking back from 2026, with over 3 billion iPhones sold historically, 2007 stands as the year global connectivity truly transformed into a borderless music distribution network.
Changing the rules of engagement
This digital network was supercharged by the rapid rollout of 3G mobile networks, with 190 systems live across 40 countries by the end of 2007. Mobile was fast becoming the definitive device for music consumption, prompting handset giants like Nokia to debut device-bundled subscription services by the end of the year.
Simultaneously, an artist-centric revolution was brewing. Out of contract with their major label, Radiohead bypassed traditional distribution entirely to release In Rainbows on their own terms, letting fans name their own price for the digital download. Suddenly, even the world’s biggest acts were viewing the internet as a tool for ultimate independence. Meanwhile, in August, Deezer launched in France, accelerating a massive consumer shift from owning music to simply accessing it.
Preparing for take-off
With the digital ecosystem finding its footing, Believe set its sights beyond France. In 2007, the company secured a crucial round of funding that would kickstart its ambitious expansion and development strategy across the European continent, alongside launching its very first web tools tailored for artists and labels. Building on her domestic momentum from the previous year, singer Soko became the first Believe-distributed artist to break into the international European charts.
While this foundational funding poured in during 2007 to spark the company’s international acceleration, it immediately set the gears in motion for the major structural acquisitions that would follow on the ground.
“We made our first acquisition in Germany,” says Denis Ladegaillerie, the founder and CEO of Believe. “We moved internationally right away because the realisation was that you had economies of scale. The big international acceleration started in the autumn of 2007.”
Disrupting the value chain
What we wanted to do was to disrupt the value chain, to bring more clarity, more transparency, to change the value sharing with the artist community, to embrace digital faster. It was about how we could support the artists to navigate things in a fast-changing world
Though Romain Vivien wouldn’t officially join Believe until 2008 after a 13-year tenure at Virgin-EMI in France, he was already watching the market shift, keenly aware of how Believe was positioning itself to ride the digital crest.
“I was coming from the music business, perfectly knowing the artist community, their needs, and the needs of change,” says Romain Vivien, Believe’s Global Head of Music. “What we wanted to do was to disrupt the value chain, to bring more clarity, more transparency, to change the value sharing with the artist community, to embrace digital faster. It was about how we could support the artists to navigate things in a fast-changing world where digital was about to shift pretty much everything, from content creation, to marketing promotion, to direct-to-fans, to access to data, to being able to expand faster globally, to reach global audiences, to better understand what was happening with content.”
Vivien saw Believe as an entrepreneurial ecosystem designed to offer artists total transparency regarding their catalogue and earnings. As the company expanded its operations, Believe’s international ambitions perfectly matched the global horizons of the independent artists they represented.
Borderless landscapes
This philosophical shift marked the true line of demarcation between the old music business and the new one. The legacy majors initially viewed the smartphone boom just as a new digital pipeline to market their existing, centralised global superstars. They understood a globalised market primarily as a means of exporting the same few Anglo-American pop hits to ever wider audiences.
Believe’s thesis was the exact opposite. They recognised that placing a digital record store into the pocket of every consumer would actually trigger a massive explosion of local, decentralised music communities. The internet wasn’t going to homogenise global taste; it was going to liberate local and regional artists who had previously been entirely shut out by the crushing costs of physical international distribution.
By marrying their fresh 2007 capital injection with this forward-facing philosophy, Believe set out to build a completely new architecture for the industry. The goal was no longer to localize a global product, but to develop local talent for local audiences first, while giving artists immediate and transparent access to opportunities beyond their home markets when relevant.
As the year drew to a close, the infrastructure was locked in, the mobile revolution was in full swing, and the stage was set for an era of unprecedented artist empowerment.
——————
Article written by Eamonn Forde. Eamonn Forde is an award-winning music business journalist and author. He writes for The Guardian, Forbes; Music Week, and Music Business Worldwide and several other publications.
The Believe Story
2006 was Believe’s first full year of operations, which came with a defining challenge: the company had to prove its worth and outline its unique selling proposition in an ever-changing, highly uncertain marketplace.
Looking back from 2026, 2006 stands out as the moment the digital thesis transformed from an ambitious theory into a working proof of concept.
Contrasting priorities
While Believe was focused on the opportunities created by the digital future, much of the industry’s attention in 2006 remained on consolidation and corporate restructuring. Against that backdrop, legacy players such as EMI and Warner only began licensing discussions with YouTube in August, while Believe had already embraced the platform as a strategic partner from its earliest days.
Believe was anticipating: stakes were high, as the overall numbers showed an industry still in pain. By the end of the year, the IFPI reported that the global market for physical and digital music had dropped to $19.6 billion, down from $20.7 billion in 2005. On the other hand though, the digital space was growing fast, valued at around $2 billion, a strong progression that didn’t hide the fact that it represented just 10% of the overall music business.
The Hip-Hop blueprint: the MC Solaar cases
The reason why one of the first areas we focused on was hip-hop is because it has two characteristics: it appeals to younger demographics, so it is very digital friendly; and it’s very driven by community and lifestyle.
Denis Ladegaillerie
Founder & CEO, Believe
Believe’s absolute certainty that digital would reshape artist discovery was already starting to bear fruit. The company identified French hip-hop as a genre brimming with both artistic and commercial potential. Believe began working closely with a wave of independent acts who understood how a digital-first partner could help them harness the internet to build direct relationships with their audiences.
The ultimate validation of this model came from legendary hip-hop icon MC Solaar. At a time when traditional record contracts, label standoffs, and legacy legal disputes kept classic music catalogues completely locked away from emerging digital services, MC Solaar sought a direct path to the digital world. By routing through his production company, Sentinel Ouest, he chose Believe to ensure his music could finally reach online platforms. This partnership became a historic proof of concept, demonstrating that digital distribution wasn’t just a niche alternative for unsigned indie acts but an essential strategic tool for the biggest stars in the country.
“What had led us to go into artist development was really the fact that consumption is digital and the way that people discover artists is digital,” says Denis Ladegaillerie, the founder and CEO of Believe. “The reason why one of the first areas we focused on was hip-hop is because it has two characteristics: it appeals to younger demographics, so it is very digital friendly; and it’s very driven by community and lifestyle, which means that algorithm-based recommendations as a discovery tool work much better for this genre than it does for pop.”
Breaking into the Digital Charts
The strategy quickly found further milestones on the domestic front. In 2006, French-born singer Soko (Stéphanie Alexandra Mina Sokolinski) became the first act using Believe to break into the French download charts. It was a highly visible sign to other independent acts and labels that Believe was becoming a serious contender in the French domestic market, despite still being in its infancy.
Around this same time, the groundwork was being laid for atmospheric pop duo AaRON. They released their breakout debut single “U-Turn (Lili)” for a hit French movie soundtrack in the fall of 2006, building the massive momentum that would propel their debut album to the top of the charts early the following year. Believe was swiftly establishing itself as a player with genuine impact.
Music and manufacture
Why I like the term ‘music industry’ is because it has two words in it. It has the word ‘music’ and it has the word ‘industry’. And people often forget this. Music and technology have always been closely embedded.
Denis Ladegaillerie
Founder & CEO, Believe
Spotting overlooked talent was only half the equation; Believe also needed the infrastructure to help those artists achieve their potential. True scale required a balance of A&R insight and technological capability.
“Why I like the term ‘music industry’ is because it has two words in it,” says Denis Ladegaillerie. “It has the word ‘music’ and it has the word ‘industry’. And people often forget this. Music and technology have always been closely embedded. Who started creating music? The people who started producing music were the manufacturers of gramophones because they needed to put content on the LPs at the time.”
These early days coincided with a dramatic shift in how traditional music giants operated, creating massive opportunities for forward-thinking new entrants.
“In 2005 and 2006 was when the music industry went from music industry to pure talent management,” he argues. “Sony Music, Universal and Warner all sold their CD manufacturing plants in 2005 and 2006. They completely lost the industrial part of the business.”
For Believe, this corporate retreat from the physical supply chain offered a glimpse into what the future required.
“What is a modern music company twenty years from now?” he asks. “It’s a music technology company. The companies that we need to build are music companies that are empowered by technology. That’s what we are. The technology is the empowerment of bringing music discovery and developing artists.”
The pieces fall into place
Believe was plugging directly into a broader movement of artist empowerment and newfound digital independence. MySpace, which had been acquired by News Corporation the previous year, was proving to be a massive catalyst for letting artists go direct to fans. In September 2006, MySpace announced it would begin allowing unsigned acts to sell downloads directly from their profiles, a major step forward for independent monetisation that chimed perfectly with Believe’s philosophy.
Quietly, other monumental pieces of the modern music puzzle were coming together. In April 2006, Spotify was founded in Stockholm, a development that would eventually transform global music consumption and export potential.
The digital landscape was organising itself.
Yet, just as these early internet platforms were finding their footing, the horizon was about to shift again. The iPod had primed the world for portable digital media, but the rules of engagement were about to be entirely rewritten. The iPhone was coming next.
——————
Article written by Eamonn Forde. Eamonn Forde is an award-winning music business journalist and author. He writes for The Guardian, Forbes; Music Week, and Music Business Worldwide and several other publications.
The Believe Story
On paper, starting a music company in 2005 looked like a certified one-way ticket to bankruptcy. The recorded music business was in a total free-fall after Napster arrived in 1999, locked in a steady decline that wouldn’t actually stop until 2014.
In reality though, it was a brilliant, ahead-of-its-time move. It showed a sharp understanding of the massive shifts happening in how music was distributed and consumed, and proved that digital would be the ultimate engine to power the industry’s comeback.
Ringtones vs. the future: breaking away from the old school
I remember vividly in 2005 […] there were two things for major record label CEOs. One was that the future of digital music was phone personalisation. The second was that the internet was not going to allow us to develop artists.
Denis Ladegaillerie
Founder & CEO, Believe
Back then, the majors were heavily focused on short-term, highly lucrative revenue drivers tied to pre-smartphone mobile content and personalisation. At a time when physical CD sales were plummeting, the global ringtone market was exploding into a multi-billion-dollar phenomenon. For traditional music executives, selling a 15-second monophonic clip for €3 felt like an easy financial lifeline, one that didn’t require embracing the wider open internet or rethinking their business models.
“I remember vividly in 2005, when we created the company, there were two things for major record label CEOs,” says Denis Ladegaillerie, CEO and founder of Believe. “One was that the future of digital music was phone personalisation, such as ringtones. The second was that the internet was not going to allow us to develop artists”.
Believe anticipated a very different future. Instead of banking on flip-phone novelty tones, the company precision-tooled its operational agenda to stay fleet of foot, allowing them to quickly spot new opportunities, new possibilities, and entirely new digital revenue streams.
Back to the Future: 2005, the digital starter pack
Digital might have been a niche in 2005, but it was the only part of the record business with significant growth potential.
Apple had brought its iTunes Music Store to Europe in early 2004, proving that consumers would pay for digital music as long as the offering was broad and simple to use. Indeed, record company trade body IFPI reported that global legal downloads had tripled in the first half of that year. In August of 2005, Apple launched the iPod Nano, following the iPod in 2001, and this was the device that truly brought portable digital music into the mainstream.
Still in 2005, Napster To Go had launched, showing how a company that was once castigated as the terror of the record business was, under new ownership, now keen to build a licensed and monetised future for music online.
And in July that year, News Corp bought MySpace for $580m, showing how quickly social media and new forms of direct distribution were impacting online behaviours. There were now over 1bn internet users globally, equal to 15% of the global population.
It was right in the chaotic middle of this transition, with CDs dying and streaming not yet fully born, that Believe quietly laid its foundations.
Zigging While the Major Labels Zagged
Believe was deliberately positioned with a distinct vision from the traditional major label model and digital-first operational model, recognising early that digital transformation would have far-reaching implications beyond music distribution and monetisation.
“At the time, the core thinking was really about how technology would transform the music market,” says Denis Ladegaillerie reflecting on the company’s mission when it was founded. “Three core ideas underpinned that vision:
The first was that technology would democratise access to music. The second, which has only begun to play out over the past three or four years, was that as music consumption and discovery became digital, the key levers of artist development would also migrate to digital platforms and channels. The third was that technology would transform the creative process itself. That shift is now beginning to take shape through today’s generative AI technologies”.
When Apple announced in September 2005 that iTunes had 1.7 million tracks available for download, it sounded like a lot. In reality, it was a tiny fraction of the hundreds of millions of songs available today. Old-school record labels were dragging their feet, digitising and licensing only a tiny sliver of their catalogues.
Where others saw a slow start, Believe saw a massive, wide-open opportunity. They realised a huge amount of incredible music was being left off the internet, and they moved fast to fill the gap.
“At the time people were saying, ‘The internet has never allowed the development of any artists’” Denis Ladegaillerie recalls.”Guess what. Twenty years later, that has changed”.
The Believe blueprint: first access, then success
Access doesn’t mean success. In the democratisation of access, you are in a world where everyone’s music is available, but no one has told artists what to do to develop themselves.
Denis Ladegaillerie
CEO and founder of Believe
Believe initially focused on empowering independent French hip-hop acts, among them the legendary MC Solaar.
“Their music was not being made available on digital music services by the major record labels or indie labels, who didn’t have access,” explains Ladegaillerie. “That’s what we started with in 2005.”
The philosophy at the time was about giving artists access to a global market digitally. This became the guiding principle of the company for its first years, but the shift thereafter was about moving from delivering access to driving success.
“Access is just developing technologies to enable artists and labels to make their music available on DSPs,” says Denis Ladegaillerie. “So it’s purely about access. You’re a new artist and you’re entry level or mid-level, and your music is accessible to everyone.”
“But access doesn’t mean success. In the democratisation of access, you are in a world where everyone’s music is available, but no one has told artists what to do to develop themselves.“
This is what powers the company today, but its foundational approach was giving artists access to global audiences that were previously impossible to reach except for a select few.
The YouTube revolution: threat or opportunity?
YouTube served as the first real arena where music fans encountered ad-supported streaming at a massive scale. Crucially, it turned passive audiences into active creators by mixing official artist content with user-generated videos.
The impact of the video-sharing platform was swift and by late 2006, barely 18 months after its launch, it was acquired by Google for $1.65bn. The major labels eyed it suspiciously as a continuation of the problems unleashed by the original Napster, damning it as a platform bloated with pirated content and therefore something that had to be contained.
Believe, however, viewed it as a symbol of what was to come for both distribution and artistic creativity. For Believe, it was a signpost to the future.
“Twenty years ago, major record labels only viewed themselves, both culturally and from a business standpoint, as the top global talent development houses”, says Denis Ladegaillerie of where their focus dramatically diverged from that of Believe. “This meant that everything that went in the direction of enlarging the market, leveraging digital in order to develop artists, was against the culture.“
This unwavering pursuit of a first-mover advantage, forged in the uncertain and tempestuous year of 2005, is exactly what has guided the company ever since.
——————
Article written by Eamonn Forde. Eamonn Forde is an award-winning music business journalist and author. He writes for The Guardian, Forbes; Music Week, and Music Business Worldwide and several other publications.
The Believe Story
Believe USA
Believe USA
Janet Jackson
Believe USA
DJO
Believe USA
Voilà
(Who we work with)
Artist Roster
Since launching its Label & Artist Solutions business in the US in May 2026, Believe is partnering with independent artists and labels to build sustainable careers through distribution, marketing, audience development, and artist solutions, combining local expertise with global reach.
Autumn Kings
Harvey Mason
Hayd
Marc Rebillet
Monobloc
Nick Waterhouse
DJ Flict
Haiden Henderson
Djo
Voila
Janet Jackson
(Our activities)
Our brands
USA
Music label Aztec
(Our activities)
Our solutions
(Local Management)
Our Leadership team
Thomas
MaxwellHead of Label & Artist Solutions
Chris
DampierHead of Publishing, USA
(Newsroom)
Latest news
From the first vinyl records to music streaming, from studio recording to digital audio workstations, technology has always shaped the way artists create and distribute their music. Today, generative AI is undoubtedly the technological development that will have the greatest impact on music artists in the years to come. At Believe, we think it is also one of the biggest creative opportunities in decades.
At a time when generative AI is rapidly gaining ground and is already influencing the entire music industry, we have chosen to take a resolute yet optimistic stance. We view generative AI as a tool that amplifies artists’ creativity and enables them to reach new heights.
We firmly believe that emotion, aesthetics, culture, and the creativity that comes from a human touch are essential to musical creation. We also believe that generative AI can be a powerful tool for creative development if it is shaped in a right, responsible way.
Driven by four core principles – consent, control, compensation, and transparency – Believe aims to become the reference partner for responsible innovation in the field of generative AI within the music industry in the next few years.
The choice in front of us is clear: we can either let AI evolve in an unstructured way and dilute value, or we can take control as an industry and unlock one of the greatest creative opportunities of our time. I genuinely believe that Gen-AI will democratize creativity. And out of that democratization will come new forms of very powerful music
Denis Ladegaillerie
Founder & CEO of Believe
To translate these principles into concrete actions, we have established key responsible partnerships with AI platforms, securing music licensing agreements with Udio and Elevenlabs, and we teamed up with Google to give artists looking to expand their creative horizons access to Flow Music, an AI-powered music creation tool.
While these partnerships are designed to help artists continue to grow, it is also essential that they retain control over their work and receive a fair share for their work. To this end, we have developed tools to detect music created using unlicensed generative AI models and systematically block its distribution. Because we see protection as a crucial first step to clear the path for genuine innovation.
The core mission of Believe has always been to support artists and labels in their development. As we journey through this technological revolution, a new priority has emerged alongside our primary one: to play a leading role in responsible innovation in generative AI. For we are convinced that this is the only way to build trust and unlock the potential of generative AI to create value for our artists and labels.
As we do every quarter, or so, we’re bringing you a fresh roundup of incredible artists from the Believe and TuneCore rosters, hailing from all corners of the globe.
Seasons change, but our goal remains the same: helping you discover songs and artists that will win your heart and, of course, become essential additions to the playlists you listen to on repeat.
With genres ranging from Turkish trap to Afro-Brazilian infused rap, hip-hop fans are in for a treat this time! But since we want there to be something for everyone, we’ve also got Austrian indie pop and the latest sensation in Nordic rock.
As always, let your musical curiosity be your guide, we’ll take care of everything else.
AFREEKASSIA – Brazil
Before the release of her debut single “Faze Dinheiro” in 2020, Afreekassia had already spent four years immersing herself in rap and the rhythms of the Afro-Brazilian diaspora as a DJ playing in clubs throughout the São Paulo region.
After a two-year hiatus, she resumed her singing career with “Sou + As Negras.” This song marked the beginning of a musical path shaped by a recurring question: “What does it mean to be a Black woman in contemporary Brazilian society?” A theme Afreekasia explored in her subsequent releases, most notably in Cacau 50 %. Released in 2025, this EP captures the contradictions of Black women’s journeys through smart, captivating lyrics and productions blending neo-soul, Afrobeats, boom-bap and lo-fi hip-hop.
With Cacau 50% Volume 2, released on May 27, Afreekassia continues her relentless journey of self-discovery through an EP whose impeccable production builds a cozy yet introspectivel atmosphere. Don’t wait to give it a listen.
LAURENZ NIKOLAUS – Austria
In July 2025, the demo of an indie pop song performed in the Viennese dialect spread like wildfire throughout the Austrian TikTok community. The demo was so popular that when Laurenz Nikolaus performed “Du bist wie” at the PopFest festival ahead of its official release, most of the audience already knew the lyrics.
Needless to say it was a good start for Laurenz Nikolaus… which is not a solo artist but a band created by singer Laurenz Öllinger and producers Moritz Fardin and Isaac Gaartmayer. In just a few months and a handful of singles, the trio has become one of the hottest acts on the Austropop scene thanks to an explosive mix of minimalist indie pop, traditional Viennese folk songs, and witty, subtle lyrics.
After releasing the EP Annemarie last February, which compiles their first singles and includes a bunch of new tracks, Laurenz Nikolaus has just released “Malediven” (Maldives). Obviously, their new summer hit!
LAZA – United States
As an artist, if you love soul, R&B, and hip-hop, why limit yourself to just one of these genres? Raised on gospel and church music, Lazā proves you can shine on both rap, lyrics and melodic talents.
In 2019, she set up her own label La La Land – distributed through TuneCore – to release her first singles and her self-produced debut album, In The Meantime. From that moment, the versatile Seattle-born singer-songwriter has been on her way to making her mark, and she has never stopped refining her rapping style and songwriting which she’s been honing since the age of six.
Characterized by laid-back, smooth melodies and lyrics influenced by her surroundings, Laza’s songs captivate new listeners with every listen. Tracks like “OpenTil2,” “For The Week,” “Carolina Blue,” or “DDG, which is included in her 8th EP Sampld, proves why she will soon be one of your favorite artists.
LIL ZEY – Turkey
Is it because Lil Zey worked at a music production company and as DJ in Atlanta, the birthplace of trap music, that she’s killing it in this genre? It would definitely explain her fondness for mumble rap and dark beats.
The Izmir native started her rapper career in 2019 on the track “Don’t @ Me” by Metth, a member of the hip-hop label RedKeys Music, the same label that would release her first solo single “Heveslenmem” in 2020. The buzz surrounding her early tracks – like “Eskisi Gibi” paved the way for her to release her debut album, Kara Tiyatro, in 2021. Later tracks like “OnlyFans”, “DEFOL” or “ELMAS” with German rapper Luciano consolidated her career locally and at international level.
Lil Zey’s latest single, “muamma – ulubatlı,” has already made its way into several Turkish Spotify playlists, including the viral “Trend 2026” playlist. It’s her first single of the year, but certainly not the last one!
HOKKA – Finland
Just because HOKKA released their first single, “In The Darkness,” last November doesn’t mean that this Finnish rock band, signed to Nuclear Blast, is made up of newcomers.
In fact, it’s quite the opposite: HOKKA is the new project of Joel Hokka, former singer of the violent pop band Blind Channel (who notably represented Finland at the Eurovision contest in 2021), accompanied by young drumming prodigy Jimi Aslak and Pauli Rantasalmi, founder of The Rasmus. This last band is a clear influence cited by HOKKA, whose style and sound are strongly reminiscent of the alternative and gothic rock of the 2000s.
After releasing “Death by Cupid Arrow” on New Year’s Day, HOKKA released its third track, “Heart Said No,” on February 19, and immediately announced the release of their debut album Via Miseria IV in April. The album reached the top 5 of physical album sales in Finland in just one week.
$WAG NIGHTMARE – United States
In 2020, a kid from Chicago called Carrington starts posting funny videos on TikTok. It works so well that more than 3 million people follow him on TikTok. Then something unexpected happens: the TikTok star becomes a self-produced emo rap star. It could be the plot of a movie, but it’s as real as it gets.
Late 2024, Carrington released “Night Phone” under his $wag Nightmare moniker. His 1st single blew up organically on TikTok, so did the second one. In 2025, he fully immersed himself in his craft, releasing a 1st EP called even in hell, then Franken$tein, a mixtape that reached 2 million streams in 3 months.
$wag Nightmare’s most recent singles,”LoveBlind”, “Favorite Ex” and “#1 Birthday Boy,” appear on PAINCORE, his recently released debut album. The young artist is now well on his way to making a name for himself on the emo scene.
Shankar will deepen the company’s commitment to being One Global Artist Development platform.
Mumbai, India, 16.04.2026 – Believe, one of the world’s leading music companies, has elevated Akhila Shankar to lead its Artist Services business across India and South Asia.
Shankar, who currently heads TuneCore India and South Asia, will take on the new role immediately and will continue to oversee TuneCore.
Based in Mumbai, she will focus on artist development, deepening artist partnerships, expanding local capabilities, and building pathways for artists to grow both regionally and globally. The move reflects Believe’s continued investment in one of the fastest-evolving music markets, where independent artists are playing an increasingly central role in shaping culture and consumption.
This transition follows the decision of current Director of Artist Services, Shilpa Sharda to move on from Believe India to pursue other interests after being with the company for 12 years. The company thanks her for her contributions and leadership during her tenure and wishes her the very best in her future endeavors.
“Building TuneCore in India has been a deeply rewarding journey. It’s shaped how I think about the systems independent artists need for their growth and long-term career sustainability. This next chapter with Believe feels like a natural extension of that work. I’m excited to build more connected pathways for artists, from discovery to development and support them more holistically as they grow. There’s a lot to be done, and I’m looking forward to what we can build together.”
Akhila Shankar
Director of Artist Services and Head of TuneCore India and South Asia
“As the music landscape in India and South Asia evolves, our focus remains on building a robust ecosystem that supports artists at every stage of their journey. Akhila’s deep understanding of the market, combined with her track record of execution, makes her well positioned to lead this next phase of growth for our Artist Services business.”
Vivek Raina
Managing Director, Believe India
Shankar has played a key role in scaling TuneCore’s presence in the region, helping independent artists access global distribution and build sustainable careers while retaining control of their rights. As of today, TuneCore is home to independent releases from artists like Ritviz, Talwiinder, and projects with Famous Studios (Diljit Dosanjh).
At the same time, Believe Artist Services, as part of Believe’s broader artist development ecosystem, has been instrumental in nurturing and scaling artists such as Sanju Rathod, Cheema Y, and Gur Sidhu, supporting them across key stages of their growth journeys.
She is well positioned to lead the business into its next phase of growth while continuing to strengthen and expand artist development ambitions in the region.
About Believe
Believe is a global artist development company. We empower local artists, labels and publishers to grow their audiences at each stage of their careers with expertise, respect, fairness and transparency. Operating in 50+ countries, with more than 2,000 employees, Believe offers a full range of services including audience development, publishing, marketing and distribution, with a tailor-made approach to fit any artist, label or publisher. Believe champions independence and innovation through a unique model that combines local expertise with a global tech platform, delivering exclusive solutions for artists to promote and monetize their music thanks to strategic partnerships with leading global digital service providers. With a leading portfolio of brands that includes Nuclear Blast, naïve, TuneCore, Groove Attack, Sentric, AllPoints and Byond, Believe artists generated more than 800 billion streams worldwide in 2024 across all genres, and were recognized with more than 70 leading industry awards. Believe is a simplified joint-stock company under French law. Learn more at www.believe.com
About TuneCore
TuneCore is the leading independent development partner for self-releasing artists to build audiences and careers – with technology and services across distribution, publishing administration, and a range of promotional services. TuneCore Music Distribution services help artists, labels, and managers sell their music through Spotify, Apple Music, Amazon Music, Deezer, TikTok, Tencent, and more than 150 download and streaming stores worldwide, while retaining 100 percent of their sales revenue and rights for a low annual flat fee. TuneCore Music Publishing Administration assists songwriters by administering their compositions through licensing, registration, worldwide royalty collections, and placement opportunities in film, TV, commercials, video games, and more. The TuneCore Artist Services portal offers a suite of tools and services that enable artists to promote their craft, connect with fans, and get their music heard. TuneCore, part of Believe, is headquartered in Brooklyn, NY, with offices in Los Angeles and Nashville, and operates globally through local teams based in the UK, Germany, France, Belgium, The Netherlands, Italy, Brazil, Mexico, Nigeria, South Africa, India, Japan, Indonesia, Thailand, Philippines and Singapore across 5 continents. www.tunecore.com
At Believe, we love helping you discover new artists, but we figured that introducing you to the independent labels from around the world that we work with would be a great idea, too. That’s exactly what our “Label Focus” articles are all about.
This month, we’re putting the spotlight on SuperLoud Music, a German label group specializing in electronic music, particularly house and dance music.
Who could be better to introduce you to SuperLoud Music than Enrico Jurca, the label’s founder and CEO? We had a quick chat about the label’s history and operations, its successes, but also about its innovative approach to promoting artists.
How would you pitch Superloud to someone who doesn’t know you?
Enrico Jurca: Superloud Music is an independent label group 100% dedicated to electronic music. We operate through three distinct imprints – THE NIGHT DRIVE, SO KOOL and LOUD X LUCKY – that cover the full spectrum of EDM. By leveraging our own ecosystem of in-house playlists and social media channels, we provide independent promotion that reaches thousands of daily listeners globally.
With collaborations spanning over 300 international artists and a steady output of more than 180 releases per year, Superloud is constantly evolving.
So, what is the story behind Superloud?
Enrico Jurca: I first founded Superloud to unify and sharpen my activities as an artist and producer. Aside from my own projects under the alias Giorgio Gee, I was providing ghost productions and remixes for various clients.
In 2020, I took the next step by launching THE NIGHT DRIVE – a label dedicated to Deep & Melodic House, supported by a custom-built network of playlists. The label’s immediate success allowed us to quickly expand and begin releasing music from other artists on a weekly basis. Then, to cover the full electronic music spectrum, I later launched SO KOOL for Tech House, followed by LOUD X LUCKY for Uptempo Dance / Techno.
To support this growth, I established a professional business structure by founding Superloud Music GmbH and expanded my team. In 2025, we partnered with Believe to take the label group to the next level and go global.
Who are the artists Superloud Music is involved with?
Enrico Jurca: Beyond my own releases, Superloud has collaborated with hundreds of artists globally. A standout success is the duo Lynnic & ItsArius; their unique, melancholic sound has resonated worldwide, with their debut album Melancholia surpassing 150 million Spotify streams to date.
We are also proud of our ability to build careers from the ground up. The young producer H:dn is a prime example: we launched his project from scratch in 2025, and through strategic promotion, we accelerated its growth to reach over 600,000 monthly listeners on Spotify and millions of streams in a very short time. And our roster always continues to expand with exciting new talent!
What are you most proud of in Superloud’s history?
Enrico Jurca: I am incredibly proud of the artistic freedom we’ve built. Launching my own label group allowed me to step away from compromise and focus entirely on a clear vision.
I take great pride in having established THE NIGHT DRIVE as a premier destination for Deep & Melodic House, carving out a unique niche with a very specific aesthetic: high-quality “music for nightly car rides.”
Seeing the meteoric rise of artists like Lynnic & ItsArius is also deeply rewarding. Witnessing their journey from their early singles to a full album and reaching over 500 million streams across their catalog with us is a testament to our collaborative approach.
I think that ultimately, the best part of this job is being an integral part of an artist’s development and seeing their vision translate into global success.
What are the exciting new projects you’re working on?
Enrico Jurca: Beyond our steady flow of international signings, we are currently gearing up for a major album project scheduled for release in fall 2026.
From a strategic standpoint, we are also in the process of launching our own in-house publishing department. This will allow us to offer even more comprehensive support to our songwriters and producers, further solidifying Superloud as a full-service home for electronic music talent
SuperLoud Music
Artists
Follow Superloud Music on Instagram to discover their latest signings and release highlights. You can also follow THE NIGHT DRIVE, SO KOOLand LOUD X LUCKY directly on Instagram to know more about their latest releases.
Giorgio Gee
Lynnic & ItsArius
H:DN
Emi Navarro
Ali Bakgor
Nofsky
MARE
Danny Suko
Sydni Alexander
Mat Frank
UPHORA
NALYRO
There’s a new season around the corner, and you know what it means: it’s time to stock up on new, fantastic, songs and artists! Luckily for you, we have incredible bands and artists from the Believe and TuneCore catalog to introduce you to today.
We may have a new awesome and gorgeous website but there is one thing that will not change: our pledge to bring you new musical horizons and artists you’ll be obsessed with for weeks.
As usual, we have something for everyone. Do you like baroque music, Latin pop or country? We’ve got it. You’re in the mood UK Drill, boleros or experimental pop from Belgium? Of course we have you covered.
In fact, it’s a safe bet that you didn’t even know you wanted to listen to this yet. Open your mind, open your ears, press “play,” and let’s go!
FRANCISCA VALENZUELA – Chile
With a career spanning 20 years, six acclaimed albums and countless awards, Francisca Valenzuela is undoubtedly one of the most prominent contemporary pop artists in Chile, and in all Latin America. A key cultural leader, she also created Ruidosa, a platform and festival dedicated to Latin-American women artists
In 2023, she released her sixth album, Adentro, which was an international success, critically acclaimed for its compositions, and nominated three times for Latin Grammy Awards. This was followed by a flurry of sophisticated pop gems that only she knows how to create, such as “Raíces” and “Rompecorazones”.
For the past months, Francisca Valenzuela has been working on her next album, which was already announced as one of the most anticipated albums of 2025 by Rolling Stones magazine. And considering how good her latest song “Tira y Afloja (Afuera)” is, we have every reason to be very excited.
TSAR B – Belgium
Since the release of her eponymous debut EP in 2016, Belgian multi-instrumentalist, producer and singer Tsar B has constantly surprised listeners with her ability to blur the boundaries between influences and musical genres.
While her early songs were described as “dark R&B” by Billboard, her music goes far beyond that. Through four EPs and three independently released albums, Tsar B has taken her audience on an experimental musical journey where ethereal pop, electronic synths, tech beats, and classical music collide. Tsar B is also a film composer, she even directed, composed and played the violin in Les Dîners de Gala a film concert inspired by Salvador Dali’s book.
Released at the end of January, her 3rd album, The Writer, is a captivating record, where neo-classical and opera blend with electro-pop and in which Tsar B talks about love, despair, and passion. An album not to be missed.
LOU RIDLEY – United States
On Instagram, Lou Ridley describes herself as a “disobedient country singer,” and this adjective could apply to her as well as her music genre.
Listening to her latest single, the highly political “Daughter’s Plea,” it becomes clear that Lou Ridley’s music is more in line with the tradition of protest country than with the usual norms of the genre. Having grown up in Texas, she knows the rules of country music, how to play with them and, above all, how to break them.
No wonder, then, that many of her songs are influenced by other genres she loves. Tracks such as “Bless You Heart” or “Attention of Any Kind”, reflect her love of soul music. Others are more pop-oriented, like “Hoedown” with Haela or her cover of Cardi B and Megan Thee Stallion’s “WAP.”. If you want to hear another side of country, Lou Ridley is your girl.
CRISTALE – United Kingdom
One could simply say that Cristale is a rapper, but “storyteller who spits bars” is a fairer description, as the young South Londoner artist has made a name for herself over the years with her realistic lyrics and dynamic flow acquired through years of freestyling battles.
Although several of her hits, like her 2nd single “Whites”, “Sing Dat” or “Roadents” (heard in the Netflix series Top Boy), fall into the UK Drill genre, it would be too simplistic to call Cristale a drill rapper. Tracks such as the mellow “Will You Ever”, her remix of rock band Kasabian or her latest Drum’n’Bass banger “Dance”, featuring 163Margs and Bou, show that she thrives in all genres.
In 2025, the British Independent Music Association nominated Cristale in the ‘One To Watch’ category. As her new mixtape is about to drop, we’re confident that many more nominations will come.
SIMONE DINNERSTEIN – United States
In 2007, Simone Dinnerstein released a recording of Bach‘s Goldberg Variations that sent shockwaves through the baroque music world. Her first solo album reached No. 1 on Billboard’s Classical Music chart and received rave reviews from the US press.
Her career then took on an international dimension that led her to perform on the most prestigious stages and with the world’s greatest orchestras. All 16 albums she released through her career appeared on the Billboard charts.
A leading specialist in Bach, her repertoire also includes Mozart, Beethoven, Mendelssohn, and contemporary composers such as Philip Lasser, Philip Glass, and Richard Danielpour, with whom she shared a Grammy nomination for her interpretation of his piece An American Mosaic.
Released in 2025, Complicité is Simone Dinnerstein’s latest album and her first recording with the string ensemble Baroklyn. However, we can hope for new releases soon following her signing with naïve.
LAURA ITANDEHUI – Mexico
Some stories shape careers. If the young Mexican singer-songwriter Laura Itandehui hadn’t gone to the El Cantinazo open mic night one evening in 2018, would its organizer, Venezuelan musician Augusto Braucho, have asked her to come and perform there?
At the time, Laura Itandehui was already an accomplished artist, a violinist since childhood and a graduate in jazz music from the Escuela Superior de Música. But she didn’t have enough songs for the concert. So, she wrote them in a few weeks. They would make up her first album, released in 2021, a gem of intimate songwriting with folk and bolero influences.
Her second album, Si Me Ven Alegre (2024), is a joyful and uplifting record, exploring guaguancó, salsa, cumbia and Colombian paseo vallenato, inspired by the composer’s travels. Released in February, the bolero “La Apuesta” is her latest single—a gem you won’t be able to stop humming.
