Universal domination: UMG scores 9 of the top 10 album in the U.S.
Universal Music Group has conquered the U.S. albums chart in record fashion by bagging nine of the top 10 albums.
For the week ending 27th August, UMG-released LPs rule the top three on the Billboard 200, with folklore by Taylor Swift (Republic Records) at No. 1; Shoot for the Stars Aim for the Moon by Pop Smoke (Victor Victor Worldwide/Republic) at No. 2 and Legends Never Die by Juice WRLD (Grade A/Interscope) at No. 3.
The music major also owns Nos 5 to 10.
Only the Hamilton cast recording at No. 4, released via Hamilton Uptown/Atlantic and distributed through Warner Music’s WEA, prevents a clean sweep for UMG.
It’s just the fourth time one record company has claimed nine of the top 10 in the chart’s 64-year history.
Taylor Swift
On each of those occasions, UMG did all the damage: in November 2013, September 2018, and November 2018.
“UMG’s unprecedented track record on the album chart is a direct result of our long-term commitment to our artists—providing them with the best resources and expertise the industry has to offer,” comments Lucian Grainge, Chairman and CEO of UMG, in a statement.
“Behind each of these incredible albums are teams of dedicated employees, partners and entrepreneurs who are guided by a shared passion for helping artists achieve their full creative and commercial potential,” Grainge adds, “and I salute all of them.”
Universal
UMG isn’t just the biggest music company on the planet in terms of chart success. A deal struck with China’s Tencent on New puts any argument on its status to bed.
On New Year’s Eve, a consortium led by the giant digital conglomerate announced it would buy 10% of UMG for $3.4 billion, valuing the music giant at north of $30 billion.
Tencent has until Jan. 15, 2021 to decide if it will buy an additional 10% stake at the same price, a deal agreed on at the time.
UMG parent Vivendi later confirmed it’s looking to sell further minority stakes in has reached out to several banks to facilitate the process.
This article originally appeared on The Industry Observer, which is now part of The Music Network.