R&B/Hip-Hop Power Players: Billboard’s 2026 List Revealed

Trending on Billboard Above Ground Entertainment CEO David Ali leads Billboard’s list of executives across multiple industry sectors pushing the genres forward. Related Labels, Distributors & Artist Services 10K Projects Marsha St. HubertCo-president; executive vp, Atlantic Music GroupNico ZiangasCo-presidentTom PhillipsSenior director of marketing 300 Entertainment/Atlantic Records Rayna BassSelim BouabCo-presidents; co-presidents of hip-hop, R&B and global musicTashana VenturaVp of marketingShyniece “Shy” FergusonSenior director of marketing strategy and implementationGabe KrantzDirector of streamingMichael QuirosDirector of A&R, 300 Entertainment Bass Flo Ngala Bouab Gabriella Spiegel Bass is concerned about “the lack of creative growth” she’s seeing in R&B and hip-hop today. “We have to continue to innovate and push the culture forward.” Bass and Bouab — co-­presidents of the Atlantic Music Group division 300 Entertainment, as well as co-presidents of hip-hop, R&B and global music at Atlantic Records — are dedicated to making good on that mission. Over the last 18 months, a parade of artists across both Atlantic’s and 300’s label rosters has notched multiple career milestones. Before launching her anticipated Little Miss Drama Tour earlier this year, Cardi B watched her long-awaited sophomore album, Am I the Drama? (which has now surpassed 2.2 billion official on-demand global streams for its songs since its release, according to Luminate) debut atop the Billboard 200 last October and launch 14 songs onto the Billboard Hot 100. Hitting the arena circuit in February, the rap superstar’s tour wrapped in April with a gross of more than $70 million and 453,000 tickets sold, according to Billboard Boxscore. Atlantic’s Don Toliver also posted wins for the label. Toliver’s fifth studio album, Octane, became his first Billboard 200 chart-topper, and the first leg of his Octane arena world tour began in May and ended in July; the second started Aug. 4 and will wrap in London in November. Meanwhile, the Kehlani whirlwind is in full force. “Folded,” the singer-­songwriter’s first No. 1 on Hot R&B/Hip-Hop Songs and first top 10 on the Hot 100, won two Grammys (best R&B song and best R&B solo performance). The track helped propel Kehlani’s 2026 self-titled album to a No. 4 debut on the Billboard 200 in May. At 300 Entertainment, Gunna’s latest project, The Last Wun, landed at No. 1 on Top Rap Albums and Top R&B/Hip-Hop Albums — his sixth time to reign on both. The album, which includes the Burna Boy-featuring “WGFT,” also reached No. 3 on the Billboard 200. Meanwhile, fellow 300 Entertainment artist Fetty Wap orchestrated a comeback this year following his early release from prison, dropping his fourth album, Zavier, in March. “Fetty Wap coming home, releasing new music and being shown the love and recognition he deserves was one of my favorite musical moments,” Bass says. “He’s legendary, and his music will resonate for generations.” Looking ahead to the rest of the year and 2027, Bass adds, “There’s some incredible music being created across the roster and new partnerships to be announced that will continue to drive our success.” —Gail Mitchell 600 Entertainment Xavier “BigXthaPlug” LandumFounder/presidentBrandon FarmerPartner; manager, Solid Foundation Management ADA Jacqueline ChengVp of label development and product managementKanika MehtaHead of commercial marketing Alamo Records Todd MoscowitzCEO, Alamo Records/Santa Anna RecordsJuliette JonesCOOLee L’HeureuxPresident, Alamo Records/Santa Anna Records Atlantic Music Group Kevin HolidayExecutive vp of hip-hop and R&B promotionAngelique JonesExecutive vp of sales and streamingDanielle GeigerSenior vp of internationalCole RechanVp of digital marketing Atlantic Records Carla PaganoSenior vp of marketingLallie JonesVp of marketing, Atlantic Records/300 EntertainmentCannon Kent-GrantVp of hip-hop, R&B and rhythm promotionAbby SilkDirector of digital marketing Boominati Leland Tyler “Metro Boomin” WayneCEO BuVision Abou “Bu” ThiamCEOMalik WilsonPresident Capitol Records Jessica EasonSenior vp of marketingJustin GrantSenior vp/head of urban digitalIan HolderKeno JordanChris TurnerSenior vps of A&RDanielle NicholsonDirector of digital marketing CMG Records Yo GottiFounder/CEO Columbia Records Lu MotaExecutive vp of A&RNaim McNairSenior vp of A&RAmy CollinsVp of A&RJames WhiteVp of radio promotionMont BrownSenior director of A&R Def Jam Recordings Tunji BalogunChairman/CEO Epic Records Ezekiel LewisChairman/CEOJennifer GoiocecheaSenior vp of A&RDontay ThompsonSenior vp of promotionJustin DuranVp of marketingPatrick AfekuSenior director of A&RMichelle HockettSenior director of marketing EVEN Mag RodriguezFounder/CEO EZMNY Records Tyrone “Ty Dolla $ign” Griffin Jr.Shawn BarronCo-founders/CEOs Geffen Records Aaron “Dash” SherrodPresident of A&RCourtney CouchVp of marketing Grand Hustle Music Group Tip “T.I.” HarrisCEOThuy-An JulienChief business officer T.I. Gilbert Flores Before this year, many people thought the best days of T.I.’s career were behind him: The owner of four Hot 100 No. 1 singles and three Billboard 200 No. 1 albums hadn’t released a project in six years and hadn’t reached the top half of the Hot 100 in over a decade. But his breezy, braggadocious 2026 single, “Let ’Em Know,” turned back the clock for Tip and reminded hip-hop fans that the man who once called himself “King” wasn’t dead yet. Released in January, “Let ‘Em Know” enjoyed a gradual run up the charts driven by word-of-mouth and organic marketing, ultimately reaching No. 8 on Hot R&B/Hip-Hop Songs, No. 1 on Mainstream R&B/Hip-Hop Airplay and a No. 33 peak on the Hot 100 in April — the first time T.I. reached the top 40 since 2014. It was a welcome return for one of Atlanta’s elder statesmen and ­heralded the comeback of his own Grand Hustle imprint, which he’s cultivated for years. “Grand Hustle’s complete transition into true independence and the commercial success we’ve achieved on our own terms” is how Tip characterized the achievement, which he calls his proudest moment of the year. ­Another highlight: “Being able to open up the BET Awards with ‘Let ’Em Know’ with my son King and my patna Young Dro in front of an audience of my peers was amazing.” For now, Tip says that the album Kill the King, released in June, will be his last — but that doesn’t mean he’ll stop having fun and playing music. He’s spent the summer on the road with his sons King and Domani for his King Succession Tour, while going forward he’ll be putting in work supporting his Grand Hustle artists P$C, Buddy Red, T.O Green, Joe Green and more. “Seeing them put in the work on a nightly basis has made me proud,” he says. “The future of Grand Hustle remains bright.” —Dan Rys Human Re Sources/The Orchard J ErvingPresident, Human Re Sources; executive vp, The Orchard; executive vp of artist development, Sony Music Entertainment Erving Courtesy of The Orchard If the past two years have taught anything, it’s that patience and dedication to the craft can pay off — even outside the confines of the traditional industry. That has long been where Erving, who heads the Orchard-­distributed Human Re Sources, has operated. In RAYE — an uber-talented singer-­songwriter who washed out of the major-label system and discovered peace and freedom in the indie world — he found the perfect partner. After RAYE landed a best new artist nomination at the 2025 Grammys, her trajectory has only exploded upward. Her second album, This Music May Contain Hope., received critical praise for its ambition, scope and raw musicality. The set became her first to reach the top 50 of the Billboard 200, debuting at No. 11 in April, while breakout single “Where Is My Husband!” became her first top 20 hit on the Hot 100, hitting No. 11. That all preceded a showstopping performance at June’s BET Awards, which Erving singles out in what has been a remarkable year of highlights. “What made it so special was watching her win over a room that may not have been as familiar with her beforehand,” Erving says. “She delivered an incredible performance, per usual, that immediately commanded the room and showcased her talent in a powerful way.” But it’s not all about RAYE for Human Re Sources: The company was also behind Jill Scott’s first album in 11 years, To Whom This May Concern, which debuted at No. 33 on the Billboard 200, the response to which Erving called “very rewarding,” and which “allowed her and her team to continue building on the career of such an important artist.” Meanwhile, the company recently signed another former best new artist nominee, Tobe Nwigwe, as well as his wife, Fat Nwigwe, now giving Erving three former best new artist nominees on his roster. (Scott was nominated for the award in 2001.) “The R&B/hip-hop community is thriving,” Erving says. “R&B and hip-hop continue to be among the biggest forces in music consumption, and there are so many exciting new acts emerging from both genres. I’m optimistic about where both genres are headed.” —D.R. HYBE America Ethiopia HabtemariamPresident of musicJennifer McDanielsPresident of managementPierre “P” ThomasCEO, Quality ControlKevin “Coach K” LeeCOO, Quality Control Interscope Capitol Bill EvansExecutive vp of urban promotion Interscope Geffen A&M Nicole WyskoarkoPresident/head of urban A&RRamon Alvarez-SmiklePresident of digital and artist strategyLaura CarterPresident of urban marketing and strategyAura HarewoodSenior vp of urban marketingForrest LiptonVp of marketing Jive Records David MelhadoMike WeissCo-presidents Legacy Recordings Derek WatsonDirector of creative content and marketing Motown Records Dante SmithSenior vp/head of digital mprs Rob BrownChief revenue officer The Orchard Naji GrampusVp of urban strategyLanre MashaDirector of West Africa RCA Records Shani Fuller TillmanVp of marketing/campaign leadershipNorjon HedmanVp of urban promotionLayla Mustafa RockVp of global brand partnershipsNatalie HoSenior director of marketing/campaign leadershipJustin “Jus” McMullenSenior director of commercial partnerships REPUBLIC Collective Danielle Price SandersExecutive vp; president, Uptown RecordsNatina NimeneExecutive vp of urban promotionChristina SuarezExecutive vp/head of Republic business affairsMyra DeCastro-YournettSenior vp of global marketing strategyDave IngenloffSenior vp of rhythm audience Republic Records Xiarra-Diamond NimrodSenior vp/head of hip-hop and R&BHaarlem BranchVp of A&RAllegra ChautinVp of digital strategyTouré ShiverVp of marketing strategy UnitedMasters Steve StouteFounder/CEOJesse MoravVp of A&REbony Maria HadleySenior director of digital marketing Vanta Music Dernst “D’Mile” Emile IICo-founder Virgin Music Group Adam StarrSenior vp of marketing, North AmericaTrenton PrattVp of genre strategy and commercial marketingFemi “Shamz” ObasjuSenior director of label managementMike WillisDirector of marketing, hip-hop and R&B Warner Records Tim HinshawHead of urban strategy; founder/CEO, Free LunchShawnae Corbett-RiceSenior vp of marketing/head of urban marketingEricka CoulterSenior vp of A&R; GM, Free Lunch RecordsBrannon ScalesSenior vp of rhythm promotionRon StewartSenior vp of urban promotion XO Records Abel “The Weeknd” TesfayeFounderWassim “SAL” SlaibyAmir “Cash” EsmailianLa Mar C. TaylorCo-foundersMelissa MahoodGM Multisector Aftermath Andre YoungFounder/CEOAshley Palmer-GilkeyGM Artist Partner Group Eli PiccarretaSenior vp of A&RAnthony MoralesSenior director of A&R BMG Tab NkhereanyeSenior vp of A&R, frontline publishingTim ReidSenior vp of repertoire and marketing, recorded music Cactus Jack Bilal “Bizzy” JosephCo-founder, Cactus Jack/Stragg/Lab RatsDavid StrombergCEO, Cactus Jack/UnmanageableRandall “Sickamore” MedfordManager; CEO, Three Times Louder Create Music Group Wayne HamptonCo-founder/chief business officerChris HercheSenior vp of music operations and marketingMark L. Hill Jr.Senior vp of A&R and business developmentCarl LeGrettSenior vp of A&R, publishing Crucible Management and Ventures David GrossFounder DMG Clearances Deborah Mannis-GardnerOwner/president Dreamville Jermaine “J. Cole” ColeCo-founder/partnerIbrahim “Ib” HamadCo-founder/partner; manager, J. Cole; president, Dreamville RecordsAdam RoyCo-founder/partner; president, Dreamville Festival EMPIRE Vinny KumarPresident, EMPIRE PublishingAl McLeanExecutive vp of global creative, EMPIRE PublishingAri SimonVp of marketingJentry SalvatoreVp of A&R and creative development EQT Henny YegezuCo-founder/CEOKazz LaidlawPartner G59 Records Dana BiondiPartner/artist manager gamma./Death Row Larry JacksonCo-founder/CEO, gamma.Ike YoussefCo-founder/president, gamma.Sara RamakerPresident, Death Row PicturesJasmin RatansiVp of branding and licensing for Snoop Dogg, Death Row Generation Now Don CannonLeighton “Lake” MorrisonDJ DramaFounding partners/co-CEOs From left: Morrison, DJ Drama and Cannon. FOLAHANMI OLAWOLE With their decades of experience, Generation Now’s founding partners have seen just about everything in the music business. Since launching Generation Now in partnership with Atlantic Records in 2015, the label has guided the likes of Lil Uzi Vert and Jack Harlow to stardom. Harlow took a creative turn with his 2026 album, Monica, where the Kentucky-born artist threw on a brown Kangol hat and explored his neo-soul and jazz influences. The release gave Harlow a No. 11 debut on Billboard’s Top R&B/Hip-Hop Albums chart and he’s currently on the road touring it. As managers, the Generation Now team struck gold bringing Yung Miami into the fold, as the City Girls rapper scored a song of the summer candidate with “Spend Dat,” which reached the Hot 100’s top 20. “Seeing where we started compared to where we are now is a great feeling,” DJ Drama says of Yung Miami’s growth. “A big shout-out to the entire GN management team who have been in the trenches leading the day-to-day alongside our partners at Uptown Records.” In a full-circle moment, two decades after making mixtape magic with the classic Trap or Die, Drama reunited with Jeezy and joined the Atlanta trap pioneer for his Legend of the Snowman residency in Las Vegas. “To see something Cannon, Jeezy and I started building over 20 years ago — paired with Lake’s decades of expertise in touring, show production and management — still translate to something so widely received in 2026 is an amazing feat,” Drama says. As the rap landscape continues to evolve with niche subgenres bubbling up, Drama believes “oversaturation” is hurting hip-hop as a whole. “We lose both culturally and monetarily,” he says, “by trying to force a product that either isn’t ready or isn’t at the highest level of ­quality.” —Michael Saponara Giant Music/Fullstop Management Shawn HolidayCo-founder/managerCourtney WorrellArtist manager, Fullstop Management Influence Media Partners Rene McLeanFounder/co-managing partner; founder/CEO, SLANG ISO Supremacy Brent FaiyazFounder/CEOAshani AllickHead of A&R and marketing Monami Entertainment Mona Scott-YoungCEO/executive producer/manager Opium Jordan “Playboi Carti” CarterFounderErin LarsenPresident/CEO OVO Sound Aubrey “Drake” GrahamNoah “40” ShebibCo-foundersAdel “Future the Prince” NurCo-founder; manager, DrakeMorgan “Mr. Morgan” LieberthalPresidentMatte BabelChief creative officerLauren “Shug” RitzerGM Drake Joseph Okpako/WireImage “I used to want to be on Roc-A-Fella, then I turned into Jay,” Drake rapped a decade ago on “Summer Sixteen.” That was four years after he launched OVO Sound, which has been the driving force behind the Canadian star’s evolution into a formidable executive. After departing as a subsidiary of Warner Records in 2022 and partnering with Todd Moscowitz’s Sony Music-backed Santa Anna Label Group in 2024, OVO Sound has found its footing with a versatile roster of rappers and moody R&B artists that fits perfectly under the OVO umbrella. As with any Drake endeavor, it’s a family affair at OVO, where longtime Drizzy affiliates Matte Babel, Morgan “Mr. Morgan” Lieberthal, Adel “Future the Prince” Nur, Lauren “Shug” Ritzer and right-hand producer Noah “40” Shebib are his partners. This year has been a busy one for the label, with releases from Naomi Sharon (No Sleep in Paradise), Roy Woods (X), Pimmie (Don’t Come Home EP) and R&B duo Majid Jordan (Two Roads, out Aug. 28). And it wouldn’t be a banner year for OVO without the return of Drake himself, who delivered a trifecta of albums in May. All eyes were on the anticipated ICEMAN, the 6 God’s most rap-heavy solo album in over a decade — but then he surprised fans with another two albums (Habibti and Maid of Honour) the same night. The campaign worked: Drizzy made history as the first artist to simultaneously occupy the top three slots on the Billboard 200. ICEMAN marked Drake’s 15th No. 1 album (breaking a tie with Jay-Z for the most No. 1s of any rapper), while the album’s “Janice STFU” debuted atop the Hot 100 to give Drake his 14th No. 1 hit, surpassing Michael Jackson’s mark for the most among male soloists. —M.S. Primary Wave Music Sean LewisManager of digital and strategic marketingSonghay TaylorEstate manager Pulse Music Group Josh AbrahamScott CutlerCo-founders/co-CEOsAshley CalhounPresident Range Music Jared CotterTyler HenryChris ThomasManaging partners Rebel Music/Open Shift Distribution Javier “Jay” SangFounder/CEO; partner, Sandy Boys Reservoir Media Donna CaseineExecutive vp/global creative directorFaith NewmanExecutive vp of A&R and catalog development Roc Nation Shawn “Jay-Z” CarterFounder/chairmanJay BrownVice chairmanDesiree PerezCEO Perez Andrew Zaeh Roc Nation has had a crowning 2026, centering its efforts on two of the biggest stages of the year: the Super Bowl halftime show with Bad Bunny, which earned nine Primetime Emmy nominations, a record for the event; and the long-awaited return to the stage by Jay-Z, the company’s iconic founder and chairman who not only headlined the sold-out Roots Picnic in May but delivered three historic performances at Yankee Stadium in July. Jay’s shows were part of a yearlong career celebration in honor of the 30th anniversary of his debut album, Reasonable Doubt, which “has seen three successful and unique pop-up shops across New York City, exclusive vinyl, custom merchandise drops and record-breaking performances,” according to Perez. That has also included a planned HBO documentary, Jay-Z in 8, with more shows to come in London, Paris and Los Angeles. But a victory lap for the boss wasn’t the only highlight of Roc’s heavy-hitting year: Megan Thee Stallion’s turn toward acting has paid big dividends, as she hit the stage in a different way with her run in Broadway’s Moulin Rouge! The Musical, as well as the Netflix film Roommates and the NBC sitcom The Fall and Rise of Reggie Dinkins alongside Tracy Morgan. Alicia Keys celebrated the capstone of her own Broadway adventure with the documentary film Alicia Keys: Girl From Hell’s Kitchen, whose world premiere closed out the Tribeca Film Festival in June, and Fat Joe and Jadakiss’ Netflix podcast, Joe & Jada, has earned accolades since its launch last May. At the same time, Roc Nation has an eye on the future. “The most important issue facing the industry is how we embrace technology without it being to our detriment,” Perez says. “AI tools can’t replace artistry; they should be available to improve the industry, not replace human-­created art.” —D.R. Rock the Bells James Todd “LL Cool J” SmithFounder/CEO Management 4 Strikes Christian ClancyKelly ClancyCo-founders 10 Summers Dijon “Mustard” McFarlaneProducer/DJ/artist/executive 40 By Tuesday Group Fabian MarasciulloCEO; artist manager, Lil Wayne 617 Management Brooke PaynePresident/CEO Above Ground Entertainment David AliCEO Ali photographed July 27, 2026 at Topanga Creative Acres in Topanga, Calif. Micaiah Carter By the time David Ali finally met Kehlani, at her Receda, Calif., home in the San Fernando Valley in 2013, they’d been trying to link up for months. He’d first become aware of the fledgling 18-year-old singer-songwriter after hearing one of her early SoundCloud uploads, “Antisummerluv,” earlier that year. After he tweeted his praise at her, the two agreed they should meet. “But she was busy, I was busy and it just never happened,” the soft-spoken Ali recalls over brunch on a hot July morning in Los Angeles. When the San Francisco-based music business entrepreneur and the Oakland, Calif., native finally crossed paths, though, they had immediate chemistry. “We talked for four, five hours, while she played me a bunch of songs,” Ali says. “I felt then like her story was my story: I understood where she was coming from. I just wanted her to win.” Today, Kehlani is Billboard’s 2026 R&B/Hip-Hop Power Players R&B Artist of the Year and Ali is her manager. But that moment 13 years ago is still at the heart of his operating philosophy as CEO of the full-service management and entertainment company Above Ground Entertainment: building careers and business partnerships by fostering artistic freedom, trust and loyalty. “It’s about investing in people,” says Billboard’s R&B/Hip-Hop Executive of the Year, who also manages R&B singer Destin Conrad and rapper Larry June. “If they don’t make money, I don’t make money. That’s been my thing from the beginning of this [journey]. With this job, you’re signing up to be the person who’s got to be there for your artist through thick and thin. And I love it.” Read the full story on Executive of the Year David Ali here. Bieber Family Office Justin BieberFounder By the Way Alex DePersiaKevin McMullanManagers Culture Collective Jonathan AzuFounder/CEOSabrina ThomasDirector of artist management Donnway & Co Erin DuranManager 11th & Co/A Seat at the Table Ebonie WardChairwoman/CEO Forward Artists Management Tyler ChildsFounder; co-founder, The Crossover Group Good Day Management Gordan DillardJosh KaplanCo-founders/co-CEOs Good Money Global Antoine “Fee” BanksCEOAlex JunnierCEO, CulturvatedKyle “Montana” ClaiborneFounder, Claiborne Consultants Laffitte Management Group Ron LaffitteFounder/president ØN 91 Cristina Bran McDonaldFounder/artist manager OVMBR Beniam “Hanz” HannesArtist managerClaudia DragoneMarketing lead SALXCO Lindsay UnwinCEOManny DionRyan RamseyCo-presidentsFranz de los ReyesHead of marketingCamillle DelaneyDelanie LoweArtist management Seeing Sounds/AMATR Armin MotamediManagement, Seeing SoundsJory CarverStrategist/product manager, AMATR Top Dawg Entertainment Anthony “Top Dawg” TiffithCEOTerrence “Punch” HendersonAnthony “Moosa” TiffithCo-presidents Tycoon Music Anthony “Ant” WilsonManager Streaming Amazon Music Phylicia FantGlobal director of Black music and cultureMelanie MercedesSenior social leadSharon BakoSenior manager of artist relations Apple Music Ebro DardenGlobal head of editorial for hip-hop and R&BWalter J. TuckerMusic business partnerships lead for hip-hop and R&BYomi DesaluMusic editorial for hip-hop, Caribbean and sports musicDominique HigdonMusic editorial for R&B SoundCloud Maurice SladeHead of music Spotify Carl CheryCreative director/head of urban musicAlaysia SierraHead of R&BBrandon PayanoR&B lead of artist partnershipsKimmy SummersLead of artist partnerships YouTube Music Brittany LewisArtist partnerships leadNoah RakoskiHead of West Coast label partnershipsRachel JacksonArtist partnerships managerDarrick WilliamsLabel partnerships Publishing Kobalt Music Publishing Lindsey LanierVp of hip-hop, R&B and gospelKate LoeschSenior director of creative Sony Music Publishing Ari GelawSenior vp of creative A&RJamin WhatleySenior director of creative A&RAmir DastooriDa’Shawn VinsonSenior managers of creative A&R Universal Music Publishing Group Cristina ChavezVp of A&ROmar TeagleSenior director of A&R Warner Chappell Music Ryan PressPresident of North AmericaAmber DavisSenior vp/head of A&R for U.K.Xavier ChampagneSenior director of urban A&R Media Audacy Skip DillardUrban AC and throwbacks format vpMike StreetVp of programming/on-air host BET Connie OrlandoExecutive vp/head of specials, music programming and strategy Genius Rob MarkmanVp of music and content iHeartMedia Doc WynterPresident of hip-hop and R&B programming strategy/program director, KRRL (Real 92.3) Los AngelesThea MitchemExecutive vp of programming/executive vp of hip-hop and R&B programming strategy/program director, WWPR (Power 105.1) New YorkCharlamagne Tha GodCo-host, The Breakfast Club/chief creative officer of cultural content and programming; co-founder/chief creative officer, Black Effect Podcast Network; co-host, The Brilliant IdiotsDJ EnvyCo-host, The Breakfast Club and The Casey CrewJess HilariousCo-host, The Breakfast ClubAngela YeeHost, Way Up With Angela Yee and Angela Yee’s Lip Service Meta Nicole JohnsonMusic creator partnerships Radio One/Reach Media, Urban One Colby TynerSenior vp of programming, Radio One/Reach MediaDre SmithSenior director of creator network and partnerships, Urban One SiriusXM Joshua “J1” RaifordDion SummersVps of music programmingRyan HobbsSenior director of artist and industry relations Agencies CAA Zack BorsonJoseph HarrisCheryl PaglieraniRyan ThomsonMusic agents Cara Lewis Group Cara LewisFounder/CEO Day After Day Productions Seth ShomesFounder/CEO Independent Artist Group Alex ChaykinPartner/agentPaul O’LoughlinMax RosenfieldAgents THE·TEAM CallenderSenior vpEli GelernterLauren MarkerVpsMallory SmithDirector of music brand partnerships UTA Rob GibbsPartner/co-head of UTA Atlanta/head of Atlanta musicMike GZach IserCaroline YimPartners/agents WME Craig D’SouzaPartner/agentJustin NaborsCaroline Simionescu-MarinJordan StoneAgents Live AEG Presents Adam StroulTalent buyer Black Promoters Collective Gary GuidryPartner/CEOShelby JoynerPartner/presidentTroy BrownPartner/chief marketing officerSulaiman MausiPartner/senior vpWalter Reed Jr.Partner/senior vp of talent acquisitionsJanice CottonPartner/vp Guidry Courtesy of Black Promoters Coll Over the last 18 months, the Black Promoters Collective presented Brandy & Monica’s The Boy Is Mine Tour, New Edition’s Way Tour and The Millennium Tour Presents: The Boys 4 Life Tour with B2K, Bow Wow and Omarion. That calendar kept the promoter busy but helped it hit its goals. As CEO Gary Guidry says, “It’s the year of being innovative.” With its recent outings, the ­company has worked to package artists for tours, creating experiences for fans where their favorite artists will perform with each other. “We did that with Brandy and ­Monica and New Edition, where the artist didn’t perform one after the other but intertwined,” Guidry says. “It changed the trajectory of what people want to see. We reintroduced something.” While the concept of such onstage collaborations is not new, Guidry notes it became less frequent over the last 20 years. But the format is roaring back — look no further than Usher and Chris Brown’s Live Nation-promoted stadium tour this year — as a way to entice fans. Since it launched in 2020, the independent promotion company has worked to highlight hip-hop and R&B artists and help them better connect with their audiences. Over the years, the Black Promoters Collective has worked with Mary J. Blige, Ella Mai and Queen Naija — and this year, it ranked at No. 10 on Billboard Boxscore’s midyear 2026 Top Promoters chart, marking the first time it cracked the top 10. “Preservation of culture is important to authenticity,” Guidry says. “Those moments of authenticity where you feel like something resonates with your spirit — those stay with you forever. Those are the things that drive people to fall in love with certain artists and certain music and certain songs.” —Ariel King Goldenvoice Ellen LuVp of regional festivals Live Nation Cindy Agi-WilliamsColin LewisGlobal tour promotersSasha Rincon-CamachoVp of tour marketingAustin SarichSascha Stone GuttfreudTour promoters Live Nation Urban Shawn GeePresidentRichard GayCOOMari DaviesVp of talent and bookingMalcolm GrayVp of marketingBrandon PankeyVp of business development and operations Gee Ben Hausdorff When Shawn Gee partnered with Live Nation to launch Live Nation Urban in 2017, the longtime manager of both The Roots and Jill Scott had a straightforward goal: “To better cater to the genres’ underserved audiences by developing original urban-focused events, festival brands and strategic content partnerships for emerging, established and classic hip-hop, R&B and gospel artists.” Since then, the Live Nation Urban team has realized that mission in spades, with an expansive docket of partnerships, festivals and campaigns. Over the last 12 to 18 months, those ranged from the inaugural HBCU Awarefest and music/cultural festival BET Experience (BETX) leading up to the annual BET Awards to Atlanta’s ONE Musicfest and Lil Wayne’s Lil’ Weezyana Fest in the rapper’s hometown of New Orleans — to say nothing of headlining tours with T.I., 112 and Jagged Edge. This spring, Gee experienced a full-circle moment when the 18th annual Roots Picnic reunited the Philadelphia collective (Billboard’s Hip-Hop Hall of Fame honorees this year) with Jay-Z as headliners — “proof,” Gee says, “of what persistence and creative connection can do.” That connection dates back to 2001, when Gee was organizing one of his “first big deals” as a manager: the MTV special and live album Jay-Z Unplugged with The Roots as the backing band. “It was a genuine culture clash,” Gee recalls. “The Roots were ‘backpack’ artistic leaders of underground hip-hop. Jay was the King of New York City, opulence personified. That pairing was one of many things that cemented The Roots’ legacy and impact on hip-hop, as it introduced live instrumentation to a generation of hip-hop artists. It made it ‘cool and safe’ for the genre to put a band onstage.” Inspired six years ago to re-­create that moment and the creative bond between Jay-Z and The Roots’ Ahmir “Questlove” Thompson, Gee began sending offers to Roc Nation CEO Desiree Perez. In turn, he received “six polite no’s.” Then this year, the answer was yes. “When Jay stepped onstage — spotlight on his Afro — the world was watching,” Gee says. “There will be other big moments on this [Jay-Z] run, but there’s only one ‘first time back.’ We got to make that happen, and I’m grateful to Jay and Desiree for trusting us with it.” The night before June’s BET Awards, Live Nation Urban brought the Roots Picnic experience to Los Angeles for a third year. Billed as “A Great Night in Hip-Hop” and co-produced by the Los Angeles Philharmonic, the evening at the Hollywood Bowl starred The Roots and Nas. That same pairing recently took the event global with the first-ever Roots Picnic London in early August. As The Roots continue their long-running stint as Jimmy Fallon’s late-night house band, the group’s co-founders, Thompson and Tariq “Black Thought” Trotter, are moving further into the film, TV and digital arenas. This year, the duo’s award-winning Two One Five Entertainment production company released the documentary Earth, Wind & Fire (To Be Celestial vs. That’s the Weight of the World) and kick-started a new digital talk show, The Next Move, based on Questlove’s own famed game nights. In February, Scott released her first album in 11 years, To Whom This May Concern, which Gee singles out as another favorite moment of the past year. “When Jill told me the songs were ‘walking her up,’ I knew it was time,” he says. “But I also knew the challenge ahead.” While Scott’s Woman debuted at No. 1 on the Billboard 200 in 2015, that feat happened in an early streaming, Facebook-era world. This time, Gee says, “the job was making her music matter in the 2026 conversation.” Gee and partners Human Re Sources/The Orchard built and executed a rollout “to remind longtime fans what Jill makes them feel,” as well as to introduce “her to a new generation of young women who grew up hearing her with their mothers and now hear her completely differently as adults.” To Whom This May Concern debuted in the top 10 across seven Billboard charts, including Top Album Sales (No. 7) and Top R&B Albums (No. 4). Scott is currently on the road with her residency-­style tour of the same name, which launched June 4 with three nights in Nashville. All told, the Grammy winner will perform 34 shows across 13 markets in the United States before heading to Europe and the United Kingdom in October and Africa in November.In September, Scott reprises her role as Sheila Jackson when the third chapter of Tyler Perry’s popular film franchise, Why Did I Get Married Again?, comes to Netflix. “For me as a manager,” Gee says, “it’s about, how do I grow my clients’ business around their interests year over year — and continue to stay relevant in the marketplace over multiple decades?” Sharing his perspective on the state of R&B and hip-hop, Gee says while “often lumped together” the genres have totally different dynamics. “R&B is thriving across generations,” he continues, citing examples like Usher and Chris Brown’s stadium tour, the chart success of artists like Kehlani and Leon Thomas, and R&B’s global reach. “What’s happening in the U.K. with kwn, Sasha Keable and Elmiene, in addition to its influence on pop superstars like RAYE and Olivia Dean, is exciting.” As for hip-hop, Gee believes that the future revolves around its next wave of superstars. “Drake, Travis Scott, Kendrick Lamar, Tyler, The Creator and J. Cole … that Mount Rushmore has been running the genre for nearly 15 years,” Gee says. “Who’s next, and how do you build that kind of mystique and aura in an era of influencer marketing and information overload?” —G.M. Mainstay Touring Rod WaveFounder/CEO Rolling Loud Tariq CherifCo-founder; founder, TC MusicMatt ZinglerCo-founder/CEO; founder/CEO, Motion Music Associations The Black Music Action Coalition Willie “Prophet” StiggersCo-founder/president/CEO Femme It Forward Heather LoweryFounder/CEO Finance City National Bank Randie BrooksSenior vp/team leader of entertainment and sports banking HarbourView Equity Partners Sherrese ClarkeFounder/CEO Clarke Courtesy of Harbourview Equity P With now close to $4 billion in entertainment assets under management, Clarke’s HarbourView Equity Partners has been busy investing across music, film, TV and sports. In the past year, Clarke highlights the company’s acquisition of the Quincy Jones catalog as well as its partnership with Colors x Studio for a special rerelease of Chaka Khan’s “Through the Fire”; the video of Khan’s performance of the song was viewed 11 million times in 48 hours. At the time of Jones’ death in late 2024, Clarke says she was working with his family to establish a partnership. “We’re creating an intergenerational loop [introducing Khan and Jones] to a new audience … in a way that is authentic to who the artists are and the next generation’s digital experience,” Clarke says. “What’s really important to us, whether it’s R&B and hip-hop, heavy metal, pop, rock, Spanish-language music, any of the things that we touch, is that we center audience and artistry in everything that we do. In R&B and hip-hop, where sometimes people may not think that there is the same intrinsic value, it’s been really important to me to demonstrate that we will do those two things and that value is not exclusive to any one particular genre.” When asked what the most important issue facing those genres is today, Clarke says, “We need to let art be art,” offering the example of Yung Miami’s Billboard Hot 100 top 20 hit, “Spend Dat,” which some, including India.Arie, have criticized for its lyrics about theft and scams. “Art has to reflect the times. A robust conversation about it is fine, but there’s no world where we should be paternalistic about what art should say or not say. If no one’s interested, it won’t be engaging. And if it is engaging, you have to ask yourself why.” —Elizabeth Dilts Marshall Rights ASCAP Nicole George-MiddletonExecutive vp/head of creative membership BMI Catherine BrewtonVp of creative, Atlanta SESAC Mario PrinsSenior vp/head of L.A. creative SoundExchange Sean GloverDirector of industry engagement Contributors: Katie Bain, Anna Chan, Ed Christman, Kyle Denis, Angel Diaz, Thom Duffy, Lyndsey Havens, Ariel King, Carl Lamarre, Elizabeth Dilts Marshall, Taylor Mims, Gail Mitchell, Kristin Robinson, Dan Rys, Michael Saponara, Andrew Unterberger Methodology: Billboard executive power list honorees are chosen by our editorial staff with consideration given to industry nominations. For industry-sourced executive lists, nominations open no less than 150 days in advance of publication. A submission link is sent to all who request to participate in the power list process before the nomination period. (Email thom.duffy@billboard.com for inclusion on the email list for nomination links and for how to obtain an editorial calendar.) Priority for the R&B/Hip-Hop Power Players list was given to companies previously recognized on the Billboard Power 100. Priority for managers was given to those whose clients ranked highest on year-end artist and Boxscore charts, and those whose clients are participants in the R&B/Hip-Hop Power Players event. Honorees are chosen by editors based on factors including the impact of honorees and their companies on consumer behavior, as measured by year-end Billboard charts, sales and streaming performance, market share, revenue or, where not available, Billboard revenue estimates, which may be aided by company guidance, social media impressions and radio audiences reached, using data available as of July 9. Career trajectory and momentum were also considered. Where required, U.S. record-label market share was consulted using Luminate’s current market share for albums, plus track-equivalent and streaming-equivalent album consumption and Billboard’s quarterly top 10 publisher rankings. Unless otherwise noted, Billboard Boxscore and Luminate are the sources for tour grosses and sales/streaming data, respectively. Luminate is also the source for radio audience metrics. The source for radio metrics is monitored station airplay from Mediabase provided by Luminate. Executives on the Rise Separate from R&B/Hip-Hop Power Players, these five executives are designated by Billboard as up-and-comers to watch. Tefferi “Teff” MogusVp/head of A&R, Death Row Records Travis WilsonCEO, FTS Global Management Sanchey “Dharmic” JainGM, Mainstay Music; manager, Rod Wave Azia JavierVp of creative, Roc Nation Demario “Meechii” SmithManager, Sequence Management This story appears in the Aug. 22, 2026, issue of Billboard.