Myke Towers Teams Up With Brandon Silverstein’s S10 for Management


About four months after its publication, Myke Towers“Lala” (One World/Warner Latina) became the world’s first #1 single from the Puerto Rican rapper.

The song, which borders on pop and reggaeton in sound, gained traction on social media and DSPs last week, despite being released as a 23-song “” by only live once” album was back in March. The song enjoyed growing and unexpected popularity after it went viral on TikTok, and while it’s nearly impossible to predict what’s going to happen next, Towers plans to make the most of that surge with the entertainment executive. Brandon Silverstein.

Towers is now represented by Silverstein’s managing arm of S10 Entertainment (Orlando “Jova” Cepeda), a full-service management, music publishing, record label, TV, film and investment firm that will work hand in hand with One World Music to drive future business ventures. ) and Casablanca Records (Jose “Tito” Reyes).

“I want to take what Myke and his partners built and bring it into the world,” Silverstein says. Variation. “His first global No. 1 is just the beginning of our journey as a family. I’m also very excited about Myke’s brand. [Young Kingz] and what will come of it?

“I’m so excited to be joining Brandon and the S10 family,” Towers said in a press release. “Our visions are aligned and I think Brandon’s clear understanding of my artistic vision and culture is a win. I look forward to continuing to expand globally and the success we’ve had with ‘Lala’ being #1 is proof that there are no limits.”

Last week, “Lala” skyrocketed to the top of Spotify’s Top 50 global chart, fending off new releases from Taylor Swift, Olivia Rodrigo, and Bad Bunny. Unsurprisingly, the “Lala” movement saw most of it in Latin America, occupying #1 in Spain, Chile, El Salvador, Colombia, Costa Rica, and many other countries.

It’s a significant achievement for a monthly song in an industry that tends to jump from one trending topic to the next, while also leaving ample room for growth. It also comes with the S10 embarking on a “creative renaissance” after it recently cut ties with one of Silverstein’s biggest customers, the Brazilian pop star. anitta.

“The S10 has been an incredible success over the last few years, and while I’m proud of it, I’m even more excited about what we’re working on next,” Silverstein says.

Over the past few years, Towers has released a steady stream of albums, many of which contain more than 20 tracks each, including “Lyke Mike” in 2021, which was certified 4x platinum by the RIAA, and “Easy Money Baby” in 2020. .

Here, Silverstein talks about his plan to grow “Lala” in individual markets outside the US, the complexities of keeping a viral song relevant, and his plans for the evolution of the S10.

“’LaLa’ is an incredible song by Myke and his team with undeniable catchiness and a global ‘feel’ that can be appreciated regardless of your language,” he says. “In the current landscape, we see that it sometimes takes a few months for songs to gain the awareness they need to be number 1 in the world.”

How and when did your partnership with Myke begin?

We have been working with One World Music (Orlando Cepeda) and the Casablanca team (José Reyes) since last November. I heard his music years ago from a friend and his incredible lyrics and melody stood out. But then you learn about his cultural significance and his years of effort to develop his art, and you’re out of your mind. Myke is the perfect fit for the S10 and the team, and we’re so excited for what’s waiting for us. It has no limits.

Before Myke and I sat down together, I met his partners at One World Music and Casablanca. The team around him is so strong and everyone is so focused on helping him win which is exciting. The relationship was really natural and it’s incredible to see it has the world’s #1 song today.

What is your approach to managing an established band like Towers – someone with several albums deep in their career?

Myke and his team have been building for years, doing the job, one of the most streamed artists in Latin, a Latin Grammy nominee and one of the most respected artists in the game. My job is to continue to develop a plan that builds on the strong foundation that has already been built, to promote this cultural strength to a wider, global audience, and to realize Myke’s vision.

We will do this in all digital-first ways today, but also through cultural touchpoints that create mainstream momentum and cannot be ignored.

“Lala” is from Towers’ last album “La Vida Es Una”, which was released in March.. How does that look in today’s rollout?

You are planning the success that “Lala” will achieve, but you cannot expect it. The song is #1 worldwide and that’s unbelievable, but there’s always plenty of room for growth, especially in certain individual markets, and that’s what we’re focusing on and we’re already seeing growth in the markets we recently started working on. week. For example, Mexico rose from the top 200 to the top 5 in less than a week and went to number 1.

We build on its foundations and lean on markets and media that we can expand into. Appropriate brand campaigns, synchronizations that move the cultural needle, as well as more “traditional” TV appearances, awards ceremonies and worldwide terrestrial and satellite radio promotion. The team at S10, including Claudia Schumann and Justin Hunter, work with me every day to execute along with the rest of the team.

Towers is touring the US this year and performing in Spain as we speak. How do you best manage a multi-handed person from all over the world on the deck?

At S10 we have an amazing bilingual team that understands how to work globally, they have many years of experience and deep relationships in the international entertainment market. By pairing this with the teams at One World Music and Casablanca, we are able to do amazing things no matter the time zone or language barrier.

Will you expand your management list further? What are your goals with your current talent?

I will always be interested in working with talented artists in a management capacity, but our future management success will be through a very selective staff of artists who are the best of their kind and where we can help them level up in a global, cultural environment. The intersection where we can do what the S10 does best in empowering our artists’ authentic creative visions.

The same goes for the publishing business, and I think someone like Jasper Harris is a great example of that. He recently won a Grammy for Baby Keem and Kendrick Lamar’s “Family Ties” and produced world number 1 songs including Jack Harlow’s “First Class” and Post Malone and Doja Cat’s “I Like You”.

What can we expect from other in-house branches of the S10 such as broadcasting, film and TV startups? Where are you focusing the most these days?

S10 is not a faceless mega holding – I am involved in every project. The things we decide to work on are the people and projects that I believe in and are excited about on a personal level.

Our focus will be on continuing to serve our management staff globally, but I’m incredibly excited about what we’re going to do in broadcasting and recordings. The level of new investment in the work we’re doing there will change the equation for many artists and I’m excited to share the details soon.

What do you think about where the music industry will go next?

Future success depends on creating and supporting a fandom. BTS and Taylor Swift show this at the highest level, but at all levels, an artist needs to develop a strong relationship with their most engaged fans. These superfans are increasing streams and sales by fighting for their favorite artist and tipping the digital scales in their favor. Make great music and then put it into the hands of the superfans you’ve nurtured over the years and you’ll see success.

As for the future of publishing, DSPs need to continue to increase payouts to authors. It’s about how low payouts are, even for big hits, and it’s completely unsustainable. Harvey Mason Jr. We’ve seen some movement here, thanks to the campaigns of some really smart and determined advocates like [but] not enough—the creative that underpins our entire music business needs to be properly valued.

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