MILAN, FEBRUARY 19 2026 – Warner Chappell Music (WCM), the global music publishing arm of Warner Music Group, today announced a strategic evolution of its Italian creative leadership team in Milan. WCM Italy’s Lodovico Pagani has been promoted to Head of A&R, Rossella Lorello transitions to the Sync & Licensing team, Giacomo Domenichelli joins as A&R Manager, and Francesca Rossi is upped to Head of Legal.

In his new role, Pagani will lead WCM Italy’s A&R strategy, reporting to Santiago Menéndez-Pidal, President, Southern Europe.  He will oversee the creative development of the publisher’s acclaimed roster, including the likes of Annalisa, Carl Brave, Federico Nardelli, Frah Quintale, Ghali, Gianna Nannini, Joan Thiele, Laura Pausini, Mace, Michele Canova, Raige, Sadturs & Kiid, and Sick Luke.

These leadership changes follow a streak of chart-topping success for WCM Italy, including the recent signing of Geolier, whose January album Tutto è possibile dominated the Italian charts, securing No. 1 spots across the Physical, Digital, and Spotify charts. To help support Pagani, Giacomo Domenichelli joins the team from management company Intera Music. He will focus on scouting and creative development within WCM Italy’s A&R team.

Santiago Menéndez-Pidal, President, Southern Europe, Warner Chappell Music, says: “Lodovico possesses an intuitive understanding of Italy’s creative heartbeat.  By elevating him to lead A&R, hiring Giacomo and Francesca, and moving Rossella’s deep creative knowledge into our Sync division, we’re creating a more integrated and creative ecosystem for our songwriters.  We’re evolving WCM Italy to meet a market where domestic talent is more prominent – and more globally exportable – than ever before.”

Lodovico Pagani, Head of A&R, WCM Italy, adds: “I am honored to lead our A&R efforts at such a pivotal moment for Italian music.  Having worked closely with our roster for years, I know the incredible potential we have to redefine the Italian songbook.  My focus is to provide a bespoke, creative-first environment where our songwriters can push boundaries and reach new audiences.”

Furthering the company’s creative-sync synergy, Rossella Lorello moves into the Sync & Licensing team, reporting to Leonardo Germinario, WCM Italy’s VP of Sync & Licensing. Lorello will act as a bridge between A&R and licensing, focusing on placing WCM Italy’s catalog across global film, television, advertising, and gaming sectors, with sync continuing to be a growth engine for the company.

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Generator and Warner Music UK have today confirmed a new three year partnership that will expand long-term opportunities for artists, producers, executives and emerging talent across the North of England.  

The renewed commitment strengthens the development of the music sector’s infrastructure in Newcastle, creating a new industry focal point for talent development, skills, and creative innovation in the region. 

The partnership embeds Warner Music UK more deeply in the North’s creative landscape, giving regional talent direct access to teams traditionally based in London. Generator and Warner Music will also work with colleges, universities and music education partners to build clearer pathways from the classroom into industry careers, supporting the next generation of engineers, producers, songwriters, content creators and music entrepreneurs. 

The three-year commitment aligns with a period of unprecedented momentum for the region’s music economy, following major national moments such as the MOBO Awards and the Mercury Prize coming to the North for the first time. Generator’s long-term ambition is to ensure this visibility translates into sustained investment, new jobs and a stronger pipeline of Northern talent progressing into the industry. Further details on Warner Music’s label activity in the region will be announced in Spring 2026. 

Mick Ross, CEO of Generator, said: “Right now, the world is looking to the North. The creativity coming out of this region is extraordinary, and it deserves national and global visibility. This partnership deepens the link between our talent and the wider industry, making it possible for artists to build successful careers without leaving the region. It’s a major step toward a stronger, more connected creative North – and a future where the industry comes here, rather than the other way round.”

Simon Robson, President, EMEA, Recorded Music, Warner Music Group, adds: “The North has always been a powerhouse of creativity, producing some of the most iconic music in history. We’re proud to be continuing its legacy with Generator by investing in the North’s grassroots music communities. It’s not just about finding the next big star, it’s about contributing towards a better system where the next generation of artists and executives can grow, evolve, and lead in the North throughout their careers.”

North East Mayor Kim McGuinness said: “This is such an important moment for North East musicians. Seeing world-leading performers recording their music right here in the region will inspire our next generation of artists.  

“We’re already backing North East talent by supporting grassroots venues, investing in skills and backing great events. But this is the next step. This is about putting the North East on the world music map, and opening up the opportunities that it’ll bring.  

“We’re showing people growing up in the region that they don’t need to move to London to succeed. The tides are shifting, and the stage is set for our local talent.”

Cllr Karen Kilgour, Leader of Newcastle City Council, said: “This exciting partnership between Generator and Warner Music UK marks an incredible new chapter for aspiring artists across Newcastle and the wider region. It will offer young musicians, producers and creators new opportunities that were previously unthinkable. It will provide a gateway into the music industry and help talented people from our region take their first steps and build real careers.

“It’s incredible to see a project like this coming to life and giving our emerging talent the tools, networks, and industry exposure they deserve.

“The creative potential here is huge, we’ve seen that during the MOBOs and the Mercury Prize. This partnership is another fantastic step towards removing barriers and making sure local people can realise their dreams right here in the North East.”

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• High-Single-Digit Revenue Growth Reflects Broad-Based Strength Across Recorded Music and Music Publishing
• Continued Market Share Gains and Healthy Underlying Trends Drive Acceleration in Recorded Music Streaming Growth
• Double-Digit Margin Expansion and Operating Cash Flow Growth Supported by Operating Performance and Cost-Savings Delivery
• 2026 Outlook Underpinned by Strategic Plan to Accelerate Growth through Investments in Core Business, Expansion of Monetization Opportunities, and Cost Savings Initiatives Which Will Drive 150 to 200 Basis Points of Margin Improvement

For the three months ended December 31, 2025

• Total revenue increased 10%, or 7% in constant currency
• Net income was $175 million compared to $241 million in the prior-year quarter
• Operating income increased 35% to $288 million versus $214 million in the prior-year quarter
• Adjusted OIBDA increased 28% to $463 million versus $363 million in the prior-year quarter, or 22% in constant currency
• Cash provided by operating activities increased to $440 million versus $332 million in the prior-year quarter

Warner Music Group Corp. today announced its first-quarter financial results for the period ended December 31, 2025.

“2026 is off to a strong start as our creative success continues to fuel consistent market share growth and financial performance,” said Robert Kyncl, CEO, Warner Music Group. “We have an exciting slate of new music ahead and are leading the charge with AI to drive a step change in value creation for artists, songwriters, and shareholders, ensuring that WMG is well-positioned for long-term success.”

“We are delivering on our promises by combining significant transformation with accelerated growth and profitability, marking our third consecutive quarter of broad-based success,” said Armin Zerza, CFO, Warner Music Group. “By fortifying our core through strategic investments and pioneering ethical AI partnerships, we have established a solid foundation to drive sustainable, long-term value for our artists and shareholders alike. This is just the beginning of our momentum, and we are well-positioned to accelerate our growth even further in 2026.”

Revenue was up 10.4% (or 7.1% in constant currency). Recorded Music revenue was impacted by a digital revenue settlement of $12 million in the quarter and a $7 million downward revenue true-up in the prior-year quarter (the “DSP True-Up and Settlement Payments”). Consistent with prior quarters, Recorded Music revenue growth was also unfavorably impacted by the termination of the distribution agreement with BMG (the “BMG Termination”), which resulted in $6 million less Recorded Music digital revenue compared to the prior-year quarter. Music Publishing revenue was impacted by $17 million of revenue in the prior-year quarter recognized in connection with historical matched royalties that were processed to date by the Mechanical Licensing Collective (the “MLC Historical Matched Royalties”). Excluding these items, total revenue increased 10.8% (or 7.4% in constant currency).

Digital revenue was up 10.0% (or 7.1% in constant currency) and streaming revenue was up 10.7% (or 7.6% in constant currency). Recorded Music streaming revenue increased 12.4% (or 9.1% in constant currency); however, adjusted for the impacts of the DSP True-Up and Settlement Payments of $12 million in the quarter and $7 million in the prior-year quarter, as well as the $6 million impact of the BMG Termination, Recorded Music streaming revenue was up 10.9% (or 7.6% in constant currency). Music Publishing streaming revenue increased 3.4% (or 1.4% in constant currency); however, adjusted for the $17 million impact of the MLC Historical Matched Royalties, Music Publishing streaming revenue was up 12.8% (or 10.4% in constant currency). The increase in total revenue was also driven by higher Recorded Music artist services and expanded-rights and licensing revenue, and growth across Music Publishing synchronization, performance and mechanical revenue, partially offset by lower Recorded Music physical revenue.

Operating income increased 34.6% (or 26.3% in constant currency) to $288 million from $214 million in the prior-year quarter primarily due to the factors affecting Adjusted OIBDA discussed below, partially offset by higher amortization expense of $11 million, an increase in restructuring and impairment charges of $7 million, and the impact of a $5 million net loss on divestitures in the quarter.

Adjusted OIBDA increased 27.5% (or 22.2% in constant currency) to $463 million from $363 million and Adjusted OIBDA margin increased 3.4 percentage points to 25.2% from 21.8% in the prior-year quarter (or 3.1 percentage points from 22.1% in constant currency). The increases include the impact of the DSP True-Up and Settlement Payments of $7 million in the quarter and $4 million in the prior-year quarter, as well as the MLC Historical Matched Royalties of $4 million in the prior-year quarter. Excluding these items, Adjusted OIBDA increased 25.6% (or 20.3% in constant currency) and Adjusted OIBDA margin increased 2.9 percentage points to 24.9% from 22.0% (or 2.6 percentage points from 22.3% in constant currency). The increases in Adjusted OIBDA and Adjusted OIBDA margin were primarily driven by revenue mix, savings from the Company’s restructuring plans, a portion of which has been reinvested into the Company’s business, and favorable movements in currency exchange rates of approximately $25 million.

Net income was $175 million compared to $241 million in the prior-year quarter. The decrease in net income was due to the impact of exchange rates on the Company’s Euro-denominated debt resulting in a $1 million loss in the quarter compared to a $61 million gain in the prior-year quarter, a currency exchange gain on intercompany loans of $1 million in the quarter compared to a $46 million gain in the prior-year quarter, and a realized and unrealized loss on hedging activity of $1 million in the quarter compared to a $15 million gain in the prior-year quarter. The decrease in net income was partially offset by an $18 million decrease in income tax expense, primarily due to a decrease in pre-tax income in the quarter, as well as the factors described above.

Basic and Diluted earnings per share were $0.33 for both the Class A and Class B shareholders due to the net income attributable to the Company in the quarter of $175 million.

As of December 31, 2025, the Company reported a cash balance of $751 million, total debt of $4.371 billion and net debt (defined as total debt, net of deferred financing costs, premiums and discounts, minus cash and equivalents) of $3.620 billion. Total debt includes $303 million of subsidiary debt acquired in the Company’s acquisition of Tempo Music Holdings, LLC (“Tempo Music”) and $4 million in loans outstanding under a Credit and Security Agreement, dated as of June 29, 2025, pursuant to which the lenders have agreed to extend up to $500 million to Beethoven Financing 1, LLC, an indirect subsidiary of the Company. This debt is secured only by certain music rights owned by Tempo Music and Beethoven JV 1, LLC, our joint venture with Bain Capital (“Beethoven”), respectively, and is nonrecourse to the Company and its subsidiaries, other than Tempo Music and Beethoven, respectively.

Cash provided by operating activities increased 33% to $440 million in the quarter compared to $332 million in the prior-year quarter. The increase was largely a result of operating performance. Free Cash Flow, as defined below, increased to $420 million from $296 million in the prior-year quarter, primarily due to the factors affecting cash provided by operating activities described above and due to a decrease in capital expenditures of 44% to $20 million from $36 million in the prior-year quarter, driven by higher investments in technology in the prior-year quarter.

Recorded Music revenue was up 10.0% (or 6.6% in constant currency) driven by increases across digital, artist services and expanded-rights and licensing revenue, partially offset by a decrease in physical revenue. Excluding the impacts of the DSP True-Up and Settlement Payments of $12 million in the quarter and $7 million in the prior-year quarter, as well as the $6 million impact of the BMG Termination, Recorded Music revenue was up 9.1% (or 5.7% in constant currency). Digital revenue was up 11.8% (or 8.6% in constant currency) and streaming revenue was up 12.4% (or 9.1% in constant currency). Adjusted for the impacts of the DSP True-Up and Settlement Payments of $12 million in the quarter and $7 million in the prior-year quarter, as well as the $6 million impact of the BMG Termination, Recorded Music digital revenue was up 10.3% (or 7.1% in constant currency) and streaming revenue was up 10.9% (or 7.6% in constant currency). Streaming revenue reflects growth in subscription revenue of 14.3% (or 10.9% in constant currency) and in ad-supported revenue of 7.2% (or 3.9% in constant currency). Subscription revenue, adjusted for the impacts of the DSP True-Up and Settlement Payments of $12 million in the quarter and $7 million in the prior-year quarter, as well as the $5 million impact of the BMG Termination, was up 12.0% (or 8.7% in constant currency). Ad-supported revenue, adjusted for the $1 million impact of the BMG Termination, was up 7.7% (or 4.4% in constant currency). The increase in subscription revenue reflects positive market share trends and chart performance, while the increase in ad-supported revenue reflects strong performance in the quarter. Artist services and expanded-rights revenue was up 17.9% (or 12.7% in constant currency) due to higher concert promotion revenue primarily in France, and the favorable impact of foreign currency exchange rates of $9 million. Licensing revenue increased 10.0% (or 7.1% in constant currency) driven by higher licensing activity and a $2 million increase in copyright infringement settlements in the quarter. Physical revenue decreased 8.4% (or 11.1% in constant currency) primarily driven by strong releases in Japan and Korea in the prior-year quarter. Top sellers in the quarter included Alex Warren, sombr, Cardi B, Ed Sheeran, and Teddy Swims.

Recorded Music operating income increased 38.2% (or 31.1% in constant currency) to $329 million from $238 million in the prior-year quarter, and operating margin was up 4.5 percentage points to 22.2% versus 17.7% in the prior-year quarter  (or up 4.1 percentage points from 18.1% in constant currency). The increase in operating income and operating income margin was driven by the factors affecting Adjusted OIBDA discussed below, as well as decreases in restructuring and impairment charges of $6 million and depreciation expense of $3 million, partially offset by higher amortization expense of $4 million attributable to acquisitions of music-related assets.

Adjusted OIBDA increased 24.8% (or 19.6% in constant currency) to $403 million from $323 million and Adjusted OIBDA margin increased 3.2 percentage points to 27.2% from 24.0% in the prior-year quarter (or increased 2.9 percentage points from 24.3% in constant currency). The increases include the impact of the DSP True-Up and Settlement Payments of $7 million in the quarter and $4 million in the prior-year quarter. Excluding these items, Adjusted OIBDA increased 21.1% (or 16.1% in constant currency) and Adjusted OIBDA margin increased 2.7 percentage points to 27.0% from 24.3% (or 2.4 percentage points from 24.6% in constant currency). The increases in Adjusted OIBDA and Adjusted OIBDA margin were primarily driven by savings from the Company’s restructuring plans, of which a portion has been reinvested in the Company’s business, and favorable movements in foreign currency exchange rates of approximately $18 million.

Music Publishing revenue was up 12.1% (or 9.4% in constant currency) driven by growth across digital, synchronization, performance, and mechanical revenue. Excluding the impact of the MLC Historical Matched Royalties, Music Publishing revenue was up 18.3% (or 15.3% in constant currency). Digital revenue increased 3.9% (or 1.4% in constant currency) and streaming revenue increased 3.4% (or 1.4% in constant currency). Adjusted for the impact of the MLC Historical Matched Royalties, streaming revenue increased 12.8% (or 10.4% in constant currency) driven by the impact of new deals and renewals. Synchronization revenue increased 53.8% (the same in constant currency) due to higher television and commercial licensing activity, a $3 million increase in copyright infringement settlements, and the $3 million impact of the Company’s acquisition of Tempo Music. Performance revenue increased 14.3% (or 10.3% in constant currency) attributable to growth from concerts, radio and live events. Mechanical revenue increased 28.6% (or 20.0% in constant currency) driven by the timing of distributions.

Music Publishing operating income was up 18.2% (or 16.1% in constant currency) to $65 million from $55 million in the prior-year quarter and operating margin increased 1.0 percentage point to 18.0% from 17.0% in the prior-year quarter (or 1.1 percentage points from 16.9% in constant currency). The increase in operating income was driven by the same factors affecting Adjusted OIBDA discussed below, partially offset by an increase in amortization expense of $8 million in the quarter related to the impact of acquisitions.

Music Publishing Adjusted OIBDA increased 22.9% (or 19.4% in constant currency) to $102 million from $83 million in the prior-year quarter. Adjusted OIBDA margin increased 2.5 percentage points to 28.2% from 25.7% in the prior-year quarter (or 2.4 percentage points from 25.8% in constant currency). The increases in Adjusted OIBDA and Adjusted OIBDA margin were primarily driven by revenue mix and includes the $4 million impact of the MLC Historical Matched Royalties, and favorable movements in foreign exchange rates of approximately $7 million.

Recent Announcements
In addition, the Company also announced today that its Board of Directors declared a regular quarterly cash dividend of $0.19 per share on the Company’s Class A Common Stock and Class B Common Stock. The dividend is payable on March 3, 2026, to stockholders of record as of the close of business on February 18, 2026.

Financial details for the quarter can be found in the Company’s current Quarterly Report on Form 10-Q for the period ended December 31, 2025, which we plan to file on Monday, February 9, 2026, with the Securities and Exchange Commission.

This afternoon management will be hosting a conference call to discuss the results at 4:30 P.M. EST. The call will be webcast on www.wmg.com.

About Warner Music Group
With a legacy extending back over 200 years, Warner Music Group today is home to an unparalleled family of creative artists, songwriters, and companies that are moving culture across the globe. At the core of WMG’s Recorded Music division are four of the most iconic companies in history: Atlantic, Elektra, Parlophone and Warner Records. They are joined by renowned labels such as TenThousand Projects, 300 Entertainment, Asylum, Big Beat, Canvasback, East West, Erato, FFRR, Fueled by Ramen, Nonesuch, Reprise, Rhino, Roadrunner, Sire, Spinnin’ Records, Warner Classics and Warner Music Nashville. Warner Chappell Music – which traces its origins back to the founding of Chappell & Company in 1811 – is one of the world’s leading music publishers, with a catalog of more than one million copyrights spanning every musical genre from the standards of the Great American Songbook to the biggest hits of the 21st century.

“Safe Harbor” Statement under Private Securities Litigation Reform Act of 1995
This communication includes forward-looking statements that reflect the current views of Warner Music Group about future events and financial performance. Words such as “estimates,” “expects,” “anticipates,” “projects,” “plans,” “intends,” “believes,” “forecasts” and variations of such words or similar expressions that predict or indicate future events or trends, or that do not relate to historical matters, identify forward-looking statements. All forward-looking statements are made as of today, and we disclaim any duty to update such statements. Our expectations, beliefs and projections are expressed in good faith and we believe there is a reasonable basis for them. However, we cannot assure you that management’s expectations, beliefs and projections will result or be achieved. Investors should not rely on forward-looking statements because they are subject to a variety of risks, uncertainties, and other factors that could cause actual results to differ materially from our expectations. Please refer to our Form 10-K, Form 10-Qs and our other filings with the U.S. Securities and Exchange Commission concerning factors that could cause actual results to differ materially from those described in our forward-looking statements.

We maintain an Internet site at www.wmg.com. We use our website as a channel of distribution for material company information. Financial and other material information regarding Warner Music Group is routinely posted on and accessible at http://investors.wmg.com. In addition, you may automatically receive email alerts and other information about Warner Music Group by enrolling your email address through the “email alerts” section at http://investors.wmg.com. Our website and the information posted on it or connected to it shall not be deemed to be incorporated by reference into this communication.

Supplemental Disclosures Regarding Non-GAAP Financial Measures
We evaluate our operating performance based on several factors, including the following non-GAAP financial measure:

Adjusted OIBDA
We allocate resources and evaluate performance based on several factors, including Adjusted OIBDA. We define Adjusted OIBDA as operating income (loss) adjusted to exclude the following items: (i) non-cash depreciation of tangible assets, (ii) non-cash amortization of intangible assets, (iii) non-cash stock-based compensation and other related expenses, (iv) gains or losses on divestitures, (v) expenses related to restructuring and transformation initiatives, which includes costs associated with the Company’s financial transformation initiative to design and implement new information technology and upgrade our finance infrastructure, and (vi) executive transition costs. Items excluded are not viewed to contribute directly to management’s evaluation of operating results. We consider Adjusted OIBDA to be an important indicator of the operational strengths and performance of our businesses. However, a limitation of the use of Adjusted OIBDA as a performance measure is that it does not reflect the periodic costs of certain capitalized tangible and intangible assets used in generating revenues in our businesses. Accordingly, Adjusted OIBDA should be considered in addition to, not as a substitute for, operating income (loss), net income (loss) attributable to Warner Music Group Corp. and other measures of financial performance reported in accordance with United States generally accepted accounting principles (“U.S. GAAP”). In addition, our definition of Adjusted OIBDA may differ from similarly titled measures used by other companies.

Constant Currency
Because exchange rates are an important factor in understanding period-to-period comparisons, we believe the presentation of revenue on a constant-currency basis in addition to reported revenue helps improve the ability to understand our operating results and evaluate our performance in comparison to prior periods. Constant-currency information compares results between periods as if exchange rates had remained constant period over period. We use results on a constant-currency basis as one measure to evaluate our performance. We calculate constant-currency results by applying current-year foreign currency exchange rates to prior-year results. However, a limitation of the use of the constant-currency results as a performance measure is that it does not reflect the impact of exchange rates on our revenue. These results should be considered in addition to, not as a substitute for, results reported in accordance with U.S. GAAP. Results on a constant-currency basis, as we present them, may not be comparable to similarly titled measures used by other companies and are not a measure of performance presented in accordance with U.S. GAAP.

Free Cash Flow
Our definition of Free Cash Flow is defined as cash flow provided by operating activities less capital expenditures. We use Free Cash Flow, among other measures, to evaluate our operating performance. Management believes Free Cash Flow provides investors with an important perspective on the cash available to fund our debt service requirements, ongoing working capital requirements, capital expenditure requirements, strategic acquisitions and investments, and any dividends, prepayments of debt or repurchases or retirement of our outstanding debt or notes in open market purchases, privately negotiated purchases, any repurchases of our common stock or otherwise. As a result, Free Cash Flow is a significant measure of our ability to generate long-term value. It is useful for investors to know whether this ability is being enhanced or degraded as a result of our operating performance. We believe the presentation of Free Cash Flow is relevant and useful for investors because it allows investors to view performance in a manner similar to the method management uses.

Free Cash Flow is not a measure of performance calculated in accordance with U.S. GAAP and therefore it should not be considered in isolation of, or as a substitute for, net income (loss) as an indicator of operating performance or cash flow provided by operating activities as a measure of liquidity. Free Cash Flow, as we calculate it, may not be comparable to similarly titled measures employed by other companies. In addition, Free Cash Flow does not necessarily represent funds available for discretionary use and is not necessarily a measure of our ability to fund our cash needs. Because Free Cash Flow deducts capital expenditures from “net cash provided by operating activities” (the most directly comparable U.S. GAAP financial measure), users of this information should consider the types of events and transactions that are not reflected. We provide below a reconciliation of Free Cash Flow to the most directly comparable amount reported under U.S. GAAP, which is “net cash provided by operating activities.”

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Based in Singapore, Wan Yin will report to Natalie Madaj, Executive Vice President, Global Digital. In this strategic role, Wan Yin will spearhead Warner Chappell Music’s digital licensing and partnership strategies across the region, focusing on driving revenue growth and navigating the complex, rapidly evolving digital ecosystems of the Asia Pacific markets. 

Wan Yin brings over 15 years of industry leadership to Warner Music Group. She most recently held senior management positions at BMAT Music Innovators and FUGA, where she managed multi-city teams and secured major licensing agreements with giants like Spotify and Tencent Music Group.

Natalie Madaj comments: “The Asia Pacific region is a powerhouse of digital growth and cultural influence. Wan Yin’s deep-rooted expertise in music publishing and her track record of scaling businesses in these markets will be a massive asset. She’s uniquely positioned to maximize value for our songwriters as we expand our digital footprint.”

Wan Yin says: “It is an honor to join Warner Music Group at such an exciting time for the digital landscape in Asia Pacific. I look forward to leveraging my experience, alongside the talented team at Warner Chappell Music, to drive innovation and create new opportunities for our songwriters and artists.”

Arica Ng, President of Warner Chappell Music Asia Pacific, adds: “Wan Yin’s vision aligns perfectly with our commitment to innovation. Her appointment reinforces our dedication to being the most forward-thinking partner for creators across Asia Pacific.”

Wan Yin holds a Bachelor of Communication Studies from Singapore’s Nanyang Technological University, and a Master of Euro-Asian Business, International Business from the University of Barcelona.

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Checa joins the company from the independent publisher ONE Publishing, where he served as Global Head of Publishing and Rights Management. In his new role, he will oversee WCM’s operations in one of Latin America’s most influential music markets.

David Checa said: “After twenty years at the intersection of rights and leadership, I’ve learned that beyond managing catalogs, our role is to bridge legacy with innovation. I am very excited to apply this experience at Warner Chappell, where we can leverage the unique momentum of Latin American music on a macro level.” 

Gustavo Menéndez, President, U.S. Latin & Latin America, WCM added: “I’ve known David Checa for many years, and it’s a pleasure to officially welcome him as Managing Director in Colombia. David brings a deep understanding of the market, strong leadership, and a genuine passion for the business and the creative community. I’m thrilled to be working closely with him in this new chapter for our Colombian office.”

Guy Moot and Carianne Marshall, Co-Chairs of WCM, conclude: “David is a seasoned professional who understands both the art and the business of music publishing. As Colombia’s influence on the global charts continues to grow, we’re confident that David is the right person to lead our operations and champion our writers in this vital market. We’re delighted to have him on board.”

A highly regarded figure in the Latin American rights landscape, Checa brings over two decades of industry experience. His distinguished career includes a ten-year tenure as CEO for both the Ecuadorian Authors Society (SAYCE) and the Ecuadorian neighbouring rights’ society (SOPROFON), alongside serving as President of ACODEM, the Colombian music publishers’ association. Previously, Checa led Sony Music Publishing’s operations across Colombia, Ecuador, Venezuela, and Central America (excluding Mexico).

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Over the course of his tenure, Weaver has helped position Atlantic as the premier destination for blockbuster, award-winning soundtrack projects, driving defining pop culture moments including Barbie The Album, Twisters The Album, The Greatest Showman, Suicide Squad The Album, F7, and most recently F1® The Album. Projects produced and overseen by Weaver account for more than 50 million album-equivalent units sold worldwide, more than 65 billion audio and video streams, and more than 40 GRAMMY® Award nominations, alongside multiple RIAA Diamond-certified singles, Academy Award® wins, Golden Globe® Awards, and numerous other prestigious honors.

First appointed to the company’s newly formed executive leadership team in 2024 while serving as President, Atlantic Records West Coast, Weaver has played an integral role in the company’s transition.

Elliot Grainge, CEO, AMG, said: “Kevin has spearheaded a remarkable series of era-defining projects, creating powerful opportunities for Atlantic’s artists while helping make the label the go-to partner for creators and brands looking to make an impact. With him now stepping into this central role, all of Atlantic Music Group will benefit from his unrivaled expertise, relationships, and passion. Zach [Friedman], Tony [Talamo], and I are proud to appoint him to this well-deserved new post.”

Kevin Weaver commented: “Atlantic has been my home for three decades, and the opportunity to continue helping define the legacy of this extraordinary company and its artists is incredibly meaningful to me. I’m deeply grateful to Elliot, Zach, and Tony for their trust and support, and I’m excited to continue helping shape the future of AMG alongside such a committed and talented group of leaders. We have a truly unique, once-in-a-lifetime opportunity to keep pushing boundaries and creating new opportunities for our artists, and I couldn’t be more excited about the future of AMG.”

At the 2024 GRAMMY® Awards, Barbie The Album led the field with 11 nominations and spawned global hits including Dua Lipa’s “Dance the Night” and Billie Eilish’s GRAMMY® and Academy Award®-winning “What Was I Made For?”, earning Weaver his second GRAMMY® Award as an album producer in the Best Compilation Soundtrack for Visual Media category. Twisters The Album delivered Luke Combs’ four-times-platinum No. 1 country hit “Ain’t No Love in Oklahoma” and multiple GRAMMY® Award nominations, while the GRAMMY®-nominated F1® The Album features the GRAMMY®-nominated platinum single “Just Keep Watching” by Tate McRae and the GRAMMY®-nominated single “Bad As I Used To Be” by Chris Stapleton, alongside contributions from Ed Sheeran, ROSÉ, Burna Boy, and others.

Weaver’s additional credits include GRAMMY®-nominated albums for Daisy Jones & The Six and HBO series including True Blood, Vinyl, Girls, and Boardwalk Empire, the latter of which marked Weaver’s first GRAMMY® Award win.

With numerous GRAMMY® Award nominations, Weaver is a recipient of multiple GRAMMY® Awards, Golden Globe® Awards, Academy Award® honors, Academy of Country Music Awards, American Music Awards, BRIT Awards, Billboard Music Awards, Clio Awards, Critics Choice Awards, and MTV Video Music Awards. He first joined Atlantic Records in 1994, going on to hold a range of senior leadership roles across the storied label, including EVP, President of Film & Television, and most recently President, West Coast, a position he was appointed to in 2017. Weaver has been a central architect of the culture and creative leadership of Atlantic’s West Coast operations, while helping expand the label’s bi-coastal footprint over many years.

Zach Friedman and Tony Talamo continue to oversee all day-to-day operations for the AMG label group, reporting to Grainge.

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Also Behind Chart-Topping Tracks for Chris Brown, Alicia Keys, Usher, Justin Bieber, & More

Warner Chappell Music (WCM), the music publishing arm of Warner Music Group (NASDAQ: WMG), has signed a worldwide publishing deal with three-time GRAMMY-nominated R&B songwriter and producer, Andre “Dre” Harris. Over his decades-long career, Harris has solidified his legacy by writing and producing for music legends including Chris Brown, Alicia Keys, Usher, Justin Bieber, Kanye West, and Robin Thicke, contributing to over 200 million records sold worldwide. With a catalog of era-defining R&B hits, featuring Billboard Hot 100 smashes like “Caught Up” (Usher), “Yo (Excuse Me Miss)” (Chris Brown), and “Oh” (Ciara), Harris has cemented his status as one of music’s most sought-after producers. 

Harris currently holds the No. 1 spot on Mediabase’s Urban Radio chart with Kehlani’s “Folded.” The smash hit simultaneously reigns atop Billboard’s Mainstream R&B/Hip-Hop Airplay chart and has spent seven non-consecutive weeks in the top 10 of the Billboard Hot 100 since its October release. The track is nominated for Best R&B Song at next month’s GRAMMY Awards. 

Ryan Press, President, North America, WCM said: “For over two decades, Dre has continued to prove how master creators stand the test of time, most recently by helping craft one of last year’s most impactful global songs. Having known him for years, I’ve seen him cement his legacy as a true visionary – shaping the sound of a generation hit after hit. Driven by relentless innovation and a talent for creating timeless, boundary-pushing records, he’s inspired countless artists, from Chris Brown to Usher and Alicia Keys. Rooted in Philly but leaving a lasting mark worldwide, Dre’s impact continues to grow, and we’re proud to support his bold, creative vision.”

Dre Harris shared: “I’m very excited to sign with Warner Chappell!! It feels good to have a team that sees my vision, and understands me as a creative. I’m looking forward to building something new with my Philly family – Ryan Press and X (Champagne).”

Xavier Champagne, Senior Director, Urban A&R, WCM added: “It’s hard to overstate Dre’s impact on R&B music. For the past 30 years, he’s been one of the pillars who’s shaped and pushed the genre forward, and I’m incredibly honored that we get to partner and carry that legacy further together.”

Harris began his career in the early 1990s, emerging from Philadelphia’s influential neo-soul scene alongside producer DJ Jazzy Jeff. During this time, he contributed to projects for legendary artists including Michael Jackson, Will Smith, Jill Scott, Musiq Soulchild, and Floetry. In 2000, he formed the songwriting and production duo, Dre & Vidal, with producer Vidal Davis. The duo quickly found critical and commercial success, earning two GRAMMY Album of the Year nominations in 2005 for Alicia Keys’ The Diary of Alicia Keys and Usher’s Confessions. Both projects secured category wins: Usher’s Confessions for Best Contemporary R&B Album and Keys’ album for Best R&B Album. Dre & Vidal received further recognition in 2009 for their work on Mary J. Blige’s GRAMMY-winning Best Contemporary R&B Album, Growing Pains. In addition to their award-winning records and Hot 100 hits, the duo is credited with producing tracks for stars like Mariah Carey, Destiny’s Child, and Musiq Soulchild.

Known for his signature style of blending live instrumentation with studio production, Harris has continued to be a sought-after collaborator since he began working independently as a producer in 2010. In recent years, his production credits span a diverse roster, including tracks for artists such as Justin Bieber, Burna Boy, Kanye West, Melanie Fiona, Mali Music, and Pharell signee Cris Cab. He also notably co-executive produced Jill Scott’s No. 1 U.S. album Woman. 

The post R&B HITMAKER ANDRE “DRE” HARRIS SIGNS GLOBAL PACT WITH WARNER CHAPPELL MUSIC appeared first on Warner Music Group.

Atlantic Records Germany today announced the signing of German rap artist Bobby Vandamme to a long-term partnership. The deal marks the first signing under the newly appointed leadership of Melanie Geiger and a significant milestone in the label’s next phase of growth. 

Bobby Vandamme has established himself as one of the leading voices in contemporary German hip-hop. To date, he has amassed more than 669 million streams in Germany and achieved over 20 charting singles, alongside collaborations with artists including Azet, Capo and Farid Bang. His debut album, Gova, and its successor, Von Seite, both reached the Top 15 of the Official German Albums Chart, each surpassing 70 million streams.

Bobby Vandamme said: “I’m looking forward to working with Atlantic Records Germany and to my upcoming tour. A new chapter is starting for me, new year, new music, and a stronger Vandamme.”

Melanie Geiger, Director of Atlantic Records Germany, added: “We are excited to welcome Bobby Vandamme to Atlantic Records Germany. He possesses everything an exceptional artist needs. We look forward to continuing his success story together.”

Niels Walboomers, President, Warner Music Central Europe, said: “Bobby Vandamme is a defining voice in German Hip-Hop, with a real momentum. This signing with Atlantic Records Germany reflects our commitment to artists who shape culture locally and have the potential to resonate far beyond their home market.” 

Melanie Geiger joined Warner Music Central Europe in 2017, and following various positions, she was appointed Director Distribution Services Hip-Hop ADA in 2025. During this time, she successfully signed acts such as Azet x Dardan, Lucio101, and Nimo, and worked with artists including Ayliva, Katja Krasavice, Summer Cem, and many others.

The German branch of the iconic US label, founded in late 2021, has primarily focused on German Rap and Hip-Hop to date, counting artists such as Charlize, Junge Arbeiter, Stickle, and Yung Hurn among its roster.

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Warner Music Group (NASDAQ: WMG) today announced that highly regarded editor and journalist Hannah Karp has been named EVP & Chief Communications Officer, effective January 26. She joins the company’s executive leadership team following a decade at Billboard, where she was most recently Editor-in-Chief. Karp will be based in New York and report to WMG CEO Robert Kyncl.

Karp will spearhead WMG’s global communications and brand marketing strategies, ensuring a unified approach across its diverse portfolio of businesses. In addition to managing all internal and external messaging, Karp will oversee the company’s philanthropic efforts and special events.

Kyncl said: “Hannah’s expert insights, sharp instincts, and innovative approach to storytelling make her the ideal leader to help shape and communicate our future-focused vision during a time of rapid and dynamic evolution. She is widely respected across the business and creative communities, bringing invaluable relationships and a broad perspective shaped by over two decades at the center of the music and media conversation. We’re very happy to welcome her to WMG.”

Karp joined Billboard in 2017 as News Director before being elevated to Editor-in-Chief the following year. She oversaw all editorial content across the publication’s digital, social, and print platforms, serving a fast-growing global audience of music fans, creators, and industry professionals. She previously spent 13 years as a staff reporter at The Wall Street Journal, where she covered the music industry as well as beats ranging from sports and travel to the economy, following stints in London, Brussels, and São Paulo. She holds a BA in economics from Duke University, including a year at St. Stephen’s College in Delhi, and earned her master’s degree from the Medill School of Journalism at Northwestern University.

The post HANNAH KARP APPOINTED EVP & CHIEF COMMUNICATIONS OFFICER FOR WARNER MUSIC GROUP appeared first on Warner Music Group.

To access the conference call, please register here. Once registered, you will receive an email with unique dial in details with a PIN to join the call. We suggest you call in 10 minutes prior to the start time. If you do not anticipate asking a question, we recommend joining via the webcast here. The replay of the conference call will also be available via the webcast at investors.wmg.com.

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