UMG CEO Lucian Grainge Claims He Didn’t Know When Kendrick Lamar’s ‘Not Like Us’ Dropped — Who’s at Fault?

Entertainment Desk

In an explosive revelation that has rocked the music industry, Universal Music Group (UMG) CEO Lucian Grainge has confessed that he had no knowledge of the release of Kendrick Lamar’s controversial track “Not Like Us,” which dropped without his prior approval or knowledge. The admission has raised eyebrows across the industry, with questions surrounding responsibility, communication, and the flow of information in one of the world’s largest music conglomerates.

The Shocking Confession

During a recent interview, Grainge — who has helmed UMG, the parent company of Interscope Records, since 2011 — made an astonishing admission regarding Kendrick Lamar’s track “Not Like Us.”

“I had never heard the recording ‘Not Like Us,’ nor ever saw the corresponding cover art or music video, until after they were released by Interscope Records,” Grainge confessed. “The proposition that I was involved in, much less responsible for, reviewing and approving the content of ‘Not Like Us,’ its cover art or music video, or for determining or directing the promotion of those materials, is groundless and indeed ridiculous.”

His comments have left many questioning how such a high-profile release could occur without the top executive being in the loop — especially considering Kendrick Lamar’s status as one of the most respected and commercially successful artists under UMG’s umbrella.

What is ‘Not Like Us’ and Why Did It Spark Controversy?

“Not Like Us” is a track that quickly became the subject of industry buzz after its surprise release. The song features Lamar’s signature intricate lyricism, but the accompanying cover art and music video were what really caused the stir. The video, which includes striking visuals and controversial imagery, was met with mixed reactions — some praising its boldness, while others questioned its timing and political undertones.

The fact that a track from an artist as influential as Kendrick Lamar could drop with such an immediate cultural impact, and without the knowledge of UMG’s highest-ranking executive, has left many fans and critics scratching their heads. In an industry where control and planning are paramount, Grainge’s admission raises questions about the inner workings of major record labels and their ability to manage talent, marketing, and promotion.

The Role of Interscope and the UMG Structure

Interscope Records, a subsidiary of UMG, has long been one of the most influential labels in the music industry. With artists like Dr. Dre, Eminem, and Lady Gaga under its belt, the label has a reputation for pushing the envelope. Kendrick Lamar, as one of their most successful acts, is a prime example of the label’s ability to generate major hits.

However, in the highly structured world of UMG and its subsidiaries, it’s difficult to understand how such a high-profile release could be greenlit without the involvement of top executives, particularly someone as influential as Grainge.

Industry insiders have pointed out that for a release as big as Kendrick Lamar’s “Not Like Us,” there are usually a series of checks and balances in place, from the creation of the song itself to its promotion and public rollout. The fact that Grainge claims to have been unaware of it suggests a breakdown in communication or a lack of oversight within the label.

Grainge’s Cryptic Response to ‘Mustard on the Beat’

Despite his lack of awareness about the track’s release, Grainge did offer a rather amusing anecdote following the confession. He went on to mention that after hearing the line “Mustard on the beat, ho,” a popular phrase from the song, he found himself “cringe-walking” and even attempting a “crip-walk” move, joking about how the line “got him hyped.”

While the admission was humorous, it also pointed to the fact that Grainge, despite his top-tier position at UMG, has a more casual engagement with some of the material that is being released under his company’s name. Whether this is a reflection of the disconnect between corporate executives and artists or a lighthearted moment in a tense interview remains unclear. However, it certainly didn’t help clarify the confusion about how such an important release could go unnoticed by the head of the label.

Who’s at Fault?

So, who is really at fault for the confusion surrounding “Not Like Us”? There are a few possible explanations.

1. Interscope’s Independent Decision Making: It’s possible that Interscope, which has built its reputation on artistic freedom and pushing boundaries, chose to release the song without involving the higher-ups at UMG. In this case, Grainge might have been left out of the loop, as his comment suggests. However, this raises questions about the communication and coordination between the two entities.

2. A Breakdown in Corporate Communication: Another possibility is that there was a miscommunication or lack of coordination between UMG’s top management and the marketing team at Interscope. If this is the case, it points to a systemic issue at UMG — one that could affect future releases if not addressed properly.

3. A Calculated Move by Kendrick Lamar: Finally, it’s worth considering that Kendrick Lamar may have deliberately chosen to release “Not Like Us” with minimal involvement from UMG. Lamar is known for his artistic control and independence, and it’s possible that he wanted to make a statement by sidestepping the traditional corporate approval process.

Industry Reactions and What’s Next for UMG?

Grainge’s comments have sparked reactions across the music industry, with some questioning whether UMG’s oversight and involvement in artist releases is becoming too hands-off. The incident also raises questions about the relationship between artists and labels, particularly when it comes to creative control and marketing decisions.

As for Kendrick Lamar, his move seems to have paid off in terms of publicity, generating significant conversation across social media and the wider music industry. Whether or not this will impact his future dealings with UMG remains to be seen.

In the wake of the drama, UMG may need to reassess its internal structure and communication protocols, ensuring that such a situation doesn’t arise again. After all, when one of the world’s biggest record labels isn’t aware of one of its most significant releases, it raises fundamental questions about control, collaboration, and the artist-label relationship.