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How Brandon Silverstein Turned Avex Music Group Into 2025’s Chart-Topping Machine

The numbers don’t lie: when Brandon Silverstein took over as CEO of Avex Music Group earlier this year, he wasn’t just inheriting a company—he was positioning himself at the center of pop music’s next major shift. Drake’s “Nokia” sitting at No. 2 on the Hot 100. Travis Scott’s “JackBoys 2” claiming the top spot on the Billboard 200. Tate McRae’s “Sports Car” dominating Mediabase’s Top 40. These aren’t isolated victories; they’re the calculated result of a five-year partnership between Silverstein’s S10 Entertainment and Japanese entertainment powerhouse Avex.

What started as exploratory conversations in 2019 has crystallized into something unprecedented: a truly global music operation that bridges Eastern and Western markets while maintaining the boutique sensibility that attracts today’s most sought-after artists. Under Silverstein’s direction, Avex Music Group has assembled a roster of producers, songwriters, and artists whose work appears across multiple Billboard charts simultaneously.

Producer Elkan’s contributions alone tell the story of AMG’s reach. His work on Drake’s “What Did I Miss?” helped propel that track to No. 2 on the Hot 100, while his production on Travis Scott’s latest project demonstrates the breadth of genres where AMG talent excels. Grant Boutin’s songwriting and production credits span from McRae’s chart-topping “Sports Car” to her Billboard Dance/Pop No. 1 “Revolving Door,” plus Don Toliver and Doja Cat’s F1 soundtrack collaboration “Lose My Mind.”

The Art of Global Music Distribution

Silverstein’s approach differs from traditional major label operations in crucial ways. Rather than imposing corporate structure on creative processes, AMG functions as what Silverstein calls “a boutique major with a global perspective.” This philosophy attracts artists seeking alternatives to conventional industry hierarchies while providing them with resources typically available only at the largest entertainment companies.

The strategy proves particularly effective in cross-cultural collaborations. Japanese boy band ONE OR EIGHT achieved a milestone by becoming the first J-pop group to break into the U.S. Mediabase Top 40 with “DSTM,” their creative reimagining of Rihanna’s “Don’t Stop the Music.” The track credits S10 songwriter David Arkwright, illustrating how AMG’s publishing roster contributes to projects spanning continents and cultures.

AMG’s West Hollywood headquarters, previously owned by A$AP Rocky and Rihanna, serves as more than office space—it functions as a creative laboratory where artists from different backgrounds collaborate on projects that wouldn’t exist within traditional label structures. This environment has attracted We The Band, Justin Bieber’s longtime backing musicians, who recently finalized their AMG signing after years of successful collaboration through member Harv’s 2021 publishing deal.

Brandon Silverstein’s Publishing Empire Delivers Results

The foundation of AMG’s current success traces back to 2020, when S10 Publishing launched as a joint venture with Avex. That initial partnership produced an impressive catalog featuring Justin Bieber’s “Peaches,” Doja Cat’s “Agora Hills,” and Jack Harlow’s “First Class”—hits that generated over 40 billion streams and included 20 No. 1 songs across three years.

Silverstein’s instincts about artist development have proven particularly prescient. His decision to sign producer Kavi in partnership with Avex USA positioned the company perfectly when Tommy Richman’s “Million Dollar Baby,” produced by Kavi, became a global phenomenon. Similarly, AMG’s recent partnership with Elkan includes launching Toibox by Elkan, a joint venture publishing company that allows the producer to develop his own roster while benefiting from AMG’s infrastructure.

“It’s exciting to see the hard work of our artists, writers, and producers resonate at such a high level across both the charts and the global stage,” Silverstein said. “In just a few short months since forming AMG, our artists have seen extraordinary success on the charts and on the road.”

The publishing division’s success extends beyond individual tracks to encompass broader artist careers. AMG artist Shenseea’s “Shake It To The Max” remix reached No. 1 on Urban Radio while accumulating over 200 million Spotify streams. We The Band member Harv contributed production and writing to Justin Bieber’s “Swag,” which debuted at No. 2 on the Billboard charts.

International Markets Drive Future Growth

AMG’s international roster demonstrates the global scope Silverstein envisioned when he first met with Avex executives in Tokyo. Puerto Rican star Myke Towers currently tours internationally supporting his album “Island Boyz,” which debuted at No. 2 on Spotify’s Global Album chart. Japanese girl group XG made their Coachella debut before embarking on The First Howl world tour, reaching 400,000 audience members across 18 countries.

These international successes validate the original premise behind the S10-Avex partnership: that Asian artists could achieve global success with proper infrastructure and support. ONE OR EIGHT’s breakthrough onto American radio represents just the beginning of this expansion, with Atlantic Records partnering with Avex on all future releases from the group.

The company’s growth trajectory shows no signs of slowing. S10 Management has added three new artists to its roster, while AMG continues developing joint ventures with established acts. Avex’s broader operations—employing over 1,500 people across 40+ labels and generating nearly $1 billion annually—provide the resources necessary to support this expansion.

From Tokyo meeting rooms where Silverstein first outlined his vision to chart-topping hits dominating American radio, the partnership between S10 and Avex has created something unique in contemporary music: a global entertainment operation that respects artistic vision while delivering commercial results. For Silverstein, whose pool cue hangs in that dimly lit Tokyo vinyl bar alongside Japanese executives’, the success represents validation of a different approach to international music business—one where cultural exchange drives creative innovation and chart performance follows naturally.

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Book

The Twin Flame Paradox: Why Our Deepest Soul Connections Are Often the Most Destructive

If you spend any amount of time on modern social media platforms—particularly in the spiritually curious corners of TikTok and Instagram—you have likely encountered the concept of the “twin flame.” In 60-second clips set to ethereal music, influencers paint a picture of the ultimate romantic ideal: a soul split in two across time and space, destined to reunite in a blaze of cosmic glory.

It sounds like the perfect love story. It sounds like a romance novel waiting to be written. But as anyone who has actually experienced the crushing, unexplainable weight of a profound karmic tie will tell you, meeting your twin flame is rarely a rom-com.

More often than not, it is a crucible.

This beautiful, terrifying reality is the beating heart of Dear Nathalie, a brilliant new work of sacred realism by author Tanya Kazanjian. Told through letters, journals, and fragmented memories, the novella strips away the pastel-colored aesthetics of modern internet spirituality to reveal the raw, often agonizing truth of what happens when two souls collide. It asks a question that most of us are too afraid to answer: What if the person who understands your soul the most is the very person who destroys the life you’ve so carefully built?

The Myth of the Perfect Match

We are culturally conditioned to believe that true love brings peace. We are taught that when you meet “the one,” the jagged edges of your life will suddenly smooth out. The right partner will help you buy a house, raise children, share a bank account, and settle into a comforting, predictable routine.

In Dear Nathalie, this societal ideal is perfectly represented by Gregory and his long-time partner, Suzanne. They share a home, they share children, and they share a life that is, by all outward appearances, secure. It is the kind of relationship built on what Gregory calls “a ceaseless recalibration, a quiet refusal to let the vessel sink.”

But safety and spiritual fulfillment are not always the same thing.

Enter Nathalie. When Gregory meets her, there are no fireworks, no cinematic declarations of love. There is simply “recognition shock.” It is the sudden, breath-stealing realization that he has known this woman before. Nathalie, a poet and an empath carrying the heavy wounds of trauma and a brilliant, restless mind, experiences it even more viscerally. She doesn’t just see a new colleague; she feels her own self-concept unraveling in his presence.

This is the great paradox of the twin flame. Instead of bringing peace, the connection brings an earthquake. It does not fit neatly into the three-dimensional world of mortgages, corporate jobs, and dinner parties. It defies logic. It demands a level of vulnerability that the human ego is rarely prepared to handle.

Ego Decomposition: The Price of Meeting Your Mirror

In the spiritual literature surrounding twin flames, there is a concept known as “ego decomposition.” It is the process by which the false layers of your identity—the masks you wear to survive in society—are burned away by the intensity of your connection with your mirror soul.

Kazanjian captures this terrifying psychological state with stunning accuracy. Nathalie writes to Gregory, “My sense of self has been crumbling in ways I never imagined possible. Everything that once felt stable in me—the tidy categories of who I thought I was, how I moved through the world, what I could expect of myself—has been shattered into fragments.”

For readers who have navigated the murky waters between profound spiritual awakening and acute psychological distress, Nathalie’s journey is deeply resonant. She goes to a psychiatrist seeking answers for her overwhelming emotions and sensory overloads. She is told she has PTSD, mild depression, and a vivid imagination.

But modern medicine often lacks the vocabulary for matters of the soul. How do you prescribe a pill for the sensation of carrying emotions from a past life? How do you medicate the feeling of being bound to someone via quantum entanglement?

The book brilliantly blurs the line between mental health and mysticism. It forces the reader to sit in the uncomfortable, awe-inspiring space of “sacred realism”—a place where mundane things like office meetings and abandoned churches coexist with auras, astrological fate, and angels falling in the snow.

The Ghost in the Marriage

Perhaps the most tragic element of the twin flame dynamic is the collateral damage it leaves in its wake. Because these connections are so intense, they often make ordinary, earthly relationships feel incredibly hollow by comparison.

Through the diaries of Suzanne, Gregory’s partner, we get a front-row seat to the devastation caused by an unconsummated, spiritual love affair. Suzanne is not fighting another woman for her husband’s physical affection; she is fighting a ghost for his soul.

When Gregory finally proposes to Suzanne after sixteen years, using an heirloom ring given to him by Nathalie, the gesture backfires catastrophically. The ring becomes a poisoned apple. It is a symbol of the profound spiritual intimacy Gregory shares with Nathalie—an intimacy he has never managed to build with the mother of his children.

Suzanne’s journal entries are a masterclass in the quiet agony of the modern marriage. She realizes that she and Gregory have been “painting over cracks,” preferring comfort to confrontation. But when faced with the undeniable depth of Gregory and Nathalie’s bond, Suzanne realizes she wants that depth for herself. She realizes that living “safely” is no longer enough.

In this way, the twin flame acts as a catalyst not just for the two souls involved, but for everyone in their orbit. The connection demands authenticity. It forces every lie, every compromise, and every half-hearted vow up to the surface to be examined.

Are We Meant to Stay Together?

If there is one profound takeaway from Dear Nathalie, it is the realization that soulmates are not always meant to stay together in the traditional sense.

Sometimes, a soulmate comes into your life simply to wake you up. They arrive to show you the parts of yourself you have hidden away, to heal old karmic wounds, and to remind you that the universe is far larger, stranger, and more beautiful than you ever dared to believe.

Nathalie and Gregory do not get a fairytale ending. Their story is marked by grief, separation, and ultimate tragedy. Yet, through Kazanjian’s gorgeous prose and deeply philosophical lens, we see that the bond survives. It survives death. It survives reincarnation. It survives the stubborn passage of time.

“Twin flames, you once said,” Gregory reflects after Nathalie’s passing. “Two souls cut from the same fire, destined to seek each other across lifetimes, burning too brightly to ever truly fade.”

For anyone who has ever loved someone in a way that defied explanation, Dear Nathalie offers a profound sense of validation. It is a reminder that while the twin flame trap might break your life apart, it does so only to set your spirit free. It is a haunting, poetic exploration of love in its most primal, uncompromising form—and a warning that once you look into the eyes of your mirror soul, you can never look away.

Media Details:

Amazon: DEAR NATHALIE
Author: Tanya Kazanjian
Website: www.tanyakazanjian.com  

Written in partnership with Tom White

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Album

Belee Kaur Releases “OLE OLE” as FIFA-Themed Music Begins Heating Up Ahead of 2026

As FIFA excitement continues building ahead of the 2026 World Cup, independent Atlanta-based artist Belee Kaur has released a new single titled “OLE OLE,” a high-energy dance-pop record centered around crowd chants, festival-style production, and international rhythms.

The release arrives at a time when FIFA-themed content is increasingly dominating platforms like TikTok, Instagram Reels, and YouTube Shorts, with creators already leaning into anthem-style music ahead of the global tournament cycle.

Built around its repetitive “Olé Olé” hook, the song focuses more on atmosphere and energy than lyrical complexity — something commonly seen in stadium records and international sports anthems. The production blends electronic dance-pop elements with large crowd-style moments designed for replay value and audience participation.

Over the last few years, Belee Kaur has steadily expanded her independent music presence through dance-pop releases and visually driven content online. “OLE OLE” marks one of her most globally focused releases so far, leaning heavily into FIFA-inspired themes and celebratory production.

The timing of the release is particularly interesting as the United States prepares to host matches during the 2026 FIFA World Cup, with football-related entertainment, creator content, and music already beginning to trend across digital platforms. Being based in Atlanta — one of the major host cities connected to the upcoming World Cup activities — Belee Kaur is said to have especially high hopes for the record and its ability to connect with international audiences during the tournament build-up.

Sources close to the artist say Belee Kaur is currently working on her second album and is especially excited about the direction of the project, viewing it as another major

milestone in her career. The upcoming material is expected to continue exploring energetic crossover pop sounds along with internationally influenced production styles.

With its chant-heavy structure and upbeat production, “OLE OLE” feels intentionally built for fan edits, sports montages, celebration clips, and creator-driven content — a space where music discovery increasingly happens today.

Listen & Follow Belee Kaur

Spotify – OLE OLE

YouTube – Official Video

Instagram – @beleekaur

Written in partnership with Tom White

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Entertainment

K-SWAB and ATL ONFIYA: Building an Independent Media Empire

ATL ONFIYA is more than entertainment; it represents independent ownership, creativity, networking, and perseverance. Founded by K-SWAB, the company is seeking to innovate in critical ways within the entertainment industry.

The entertainment industry has changed profoundly over the past few decades. What was once a well-established, rigorous system and pipeline has now given way to much greater leniency and personal autonomy in the wake of streaming services and social media platforms. The barrier to entry has been drastically reduced in the wake of these new technological tools. The power is now in the hands of individual artists to forge their own paths, and that is exactly what K-SWAB aims to do with ATL ONFIYA.

About K-SWAB

Ackeo Stevenson, professionally known as K-SWAB, is a self-taught producer, hip-hop artist, music engineer, videographer, photographer, graphic designer, radio host, and entrepreneur. During his career, he has garnered experience and built ATL ONFIYA into an independent multimedia platform. Focusing on everything from entertainment and music to radio, television, artist branding, interviews, event coverage, and independent media exposure, K-SWAB’s background spans music production, artist development, television production, digital broadcasting, and entrepreneurial leadership.

As such, K-SWAB’s efforts uniquely combine multiple creative industries into a single cohesive ecosystem. Whereas others in the entertainment industry generally focus on a specific niche, K-SWAB is passionate about all these elements and seeks to bring them together into a unified front. 

ATL ONFIYA is a distinctly modern platform, one that allows users to tap into entertainment across a wide range of media. K-SWAB’s perspective comes from being fully hands-on in every aspect of content creation and platform development while helping elevate independent creators and entrepreneurs.

The Inspiration Behind the Innovation

Through it all, K-SWAB’s personal story has remained rooted in self-development and persistence. Much of ATL ONFIYA was built independently through trial and error, creativity, and consistency. Early on, he learned how to engineer music, shoot visuals, edit content, and produce media without relying on large studios or investors. That independent mindset became the foundation of ATL ONFIYA’s growth, as he spearheaded every aspect of the project and remained deeply hands-on throughout its formation.

The lack of opportunities and exposure available to independent artists, creators, and entrepreneurs inspired K-SWAB. Rather than waiting for opportunities, he focused on building his own platform where creators could gain visibility, network, and grow their brands. ATL ONFIYA was created to bridge entertainment, business, culture, and media, helping independent talent gain real exposure.

Overcoming Obstacles

One of the main challenges was creating an independent media platform without support from large corporations. K-SWAB needed to acquire various skills on his own, including production, editing, engineering, branding, broadcasting, marketing, and business operations management. 

Another difficulty was gaining recognition in highly competitive industries while maintaining independence. By staying consistent, networking, persevering, and self-educating, K-SWAB developed lasting media relationships and continued to grow the ATL ONFIYA brand.

A Brighter Future

Moving forward, K-SWAB is passionate about continuing to grow ATL ONFIYA, with ambitions to turn it into a nationally recognized multimedia network with expanded television distribution, larger artist development opportunities, major interviews, live productions, and broader international exposure. 

He aspires to continue building platforms that help independent creators, entrepreneurs, and entertainers gain visibility. As the entertainment industry continues to shift in substantial ways, K-SWAB seeks to carve out his own path to success and invite other artists to join him on the journey. 

Written in partnership with Tom White

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