Drake has taken legal action against Universal Music Group (UMG) and Spotify, alleging that the two companies have conspired to manipulate the success of Kendrick Lamar’s track “Not Like Us” as part of an ongoing rivalry between the two rap icons. In a petition submitted to a New York court, Drake claims that UMG paid influencers and radio stations to artificially inflate the song’s streaming and radio play numbers, even suggesting the use of bots to enhance its popularity.
In his filing, Drake points to UMG’s long-term business relationship with Spotify, asserting that UMG provided the platform with a significantly reduced licensing fee of 30% for “Not Like Us” in exchange for increased promotional efforts from Spotify. This arrangement supposedly led Spotify to frequently recommend the track to its users.
Drake’s allegations extend beyond Spotify, as he contends that UMG employed similar tactics on other platforms, notably Apple Music. He cites an instance where, upon request via Siri for his album “Certified Lover Boy,” the virtual assistant instead directed users to “Not Like Us.” He also claims that UMG has dismissed employees who he feels were loyal to him.
In response, UMG has strongly refuted Drake’s accusations, stating that the notion of undermining their own artists is both “offensive and untrue.” They defend their marketing practices, insisting that success in the music industry is determined by fans’ choices, not artificially created promotions.
The exact cause of the tension between Drake and Lamar remains ambiguous, but the two have been engaged in a lyrical exchange recently, with Lamar’s “Not Like Us” peaking at number one on the Billboard Hot 100 and accumulating over 900,000 streams on Spotify.
Before moving forward with an official lawsuit, Drake is seeking the identities of those allegedly compensated by UMG and Spotify for promoting and streaming the controversial track. He emphasizes the implications of UMG’s marketing strategy, stating, “Every time a song ‘breaks through,’ it means another artist does not,” and argues that UMG’s heavy focus on “Not Like Us” comes at a detrimental cost to other artists, including himself.
This unfolding situation highlights the complexities of the music industry, with established artists navigating not only rivalries but also potential disparities in promotional practices. As the case develops, it will be interesting to see how it influences not only Drake and Lamar’s careers but also the broader dynamics within music promotion and streaming platforms.
Overall, the situation reflects the intense competition in the music industry, but it also presents an opportunity for a greater dialogue on fair promotion practices that might lead to reforms that ensure all artists receive fair representation in a constantly evolving landscape.