‘I’VE ALWAYS BEEN A PERSON WHO’S COMFORTABLE WITH BEING UNCOMFORTABLE.’

Let the record show, South Coast Music Group founder and CEO Arnold Taylor knows how to throw a party. But he also knows how – and more specifically when – not to throw a party. Not a proper one, anyway. So, he explains, the current COVID-dominated conditions meant the celebrations for DaBaby’s latest US No. 1 album, Blame It On Baby, involved “five of us in masks and gloves, six feet away from each other – I couldn’t even get a high five!”, adding that “we have a great amount of respect for what people are going through right now and remained mindful of keeping safe.”

Taylor has managed DaBaby since meeting him nearly four years ago, a pivotal encounter that prompted him to leave his last label job, with Epic, and concentrate full time on breaking the rapper from Charlotte, North Carolina, alongside building a label/management company, in SCMG, that is now also home to Toosii (“my next superstar”, for whom South Coast has just signed a deal with Capitol), Big Mali and Blacc Zacc (SCMG/Interscope).

Going solo was inevitable for Taylor, who describes himself as “first and foremost an entrepreneur” – he has had his own projects since he started working at a record store and created his own influential record pool while attending college.

It was Taylor’s position of influence with DJs – and as a conduit to local markets for national record companies – that saw him carve out a career, initially in promotions and then incorporating A&R, with famous labels including Blackground Records, Def Jam, and Interscope.

Along the way, working alongside artists and executives including Timbaland, Aaliyah, Cash Out, Yo Gotti and L.A. Reid, Taylor made sure he was always watching, learning, absorbing and planning – and always certain that he would get the chance to make his own mark with his own artist.

Sure enough, in the last couple of years, he and DaBaby have made a mark you can see from space. After breaking through in 2018, with his mixtape, Baby Talk 5, released through Roc Nation, his debut studio album, Baby On Baby, which kicked off SCMG’s deal with Interscope, went to No. 1.

The follow-up, Kirk (2019) also went to No. 1, and led to guest spots on tracks by big names such as Post Malone, Lil Nas X, Lizzo, Camila Cabello and Future. And, just last week, Blame It on Baby became the rapper’s third No. 1 album in 13 months – an astonishing feat, marked by a socially responsible celebration.

Taylor’s not overly concerned. He knows there will be time again for Champagne and bear hugs, as he plots a long-term career for DaBaby – the man he calls “the LeBron James of South Coast Music, our franchise player” – and tells“I always knew I was going to get here – the only detail I needed to fill in was when and how…”

The Mystery Of the Dragon Seal Single on Spotify

The Mystery of the Dragon Seal Album on Spotify

AT YOUR LAST JOB, WITH EPIC, THE INITIAL PLAN WAS FOR YOU TO HAVE YOUR OWN IMPRINT AT THE LABEL, BUT THAT NEVER HAPPENED. WAS THAT FRUSTRATING?
It was super frustrating towards the end, because I wasn’t getting what I wanted. But everything happens for a reason.

I was getting older, I’d started South Coast Music Group, I was doing both things, but then as soon as I signed DaBaby, that needed all my focus.

Baby was the artist I needed to break through. I had all these ideas, but I also needed product.

HOW DID DABABY FIRST COME ACROSS YOUR RADAR IN NORTH CAROLINA?
My partner, King Carter [EVP and co-founder of SCMG] told me about him.

Baby was in the city, at the club, with like 30/40 people, already the smartest guy in the crew. I saw him one night, just watched the way he walked in, the leader of the pack, it was the way he moved, it wasn’t even about music. It was about finding someone who was headstrong and fearless, because I knew what the journey was gonna be; there was gonna be a lot of closed doors.

The Mystery of the Dragon Seal on Apple Music

WHAT’S THE MOST IMPORTANT LESSON YOU’VE LEARNED DURING YOUR TIME IN THE INDUSTRY?
I would say patience. My kids have probably taught me that more than anything, but in the industry as well, I’ve learned to have patience.

“I’VE LEARNED TO NOT BE SUCH A MICRO-MANAGER.”

I’ve also learned to trust my people. I mean, I’ve never had a partner before. Interscope is my first time having a partner, and I’ve started a lot of businesses. I’m so big on doing things myself, but I’ve learned that I need good partners, to get as big as we want to get. I’ve learned to not be such as micro-manager.

WERE YOU A BIT OF A CONTROL FREAK?
Was I?! [Laughs] But now I bite my tongue and trust people. Actually, I wasn’t a control freak, like arrogant – I always listened, I’m a sponge; I take on what everybody says and make my own decisions.

I also always wanted to take my own risks. A lot of times, I might not want you involved because I don’t want you to take the risk; I might be protecting you.

“I’LL TAKE PLENTY OF RISKS – BUT WITH MY MONEY AND MY TIME, NOT YOURS.”

So it wasn’t a selfish thing, it was more, let me try, and if it works, I’ll bring you in.

I’ll take plenty of risks – but with my money and my time, not yours.

WHAT’S THE MOST IMPORTANT PIECE OF ADVICE YOU’D GIVE TO A YOUNG MANAGER STARTING OUT?
Make sure you know who you’re dealing with. I talk to my artists for maybe three months, six months, sometimes a year, just helping them, getting them together, I might get them to the point they’re putting music out and I won’t even have signed them yet. I’ve lost a lot of artists like that, because other people rush to sign them. I’m very picky about who I sign, I don’t base it on what they’re streaming right now.

“DON’T JUST BE A MANAGER WHERE YOU HANGING AROUND THE ARTIST. IF YOU’RE A HOMEBOY MANAGER, YOU’RE PROBABLY GONNA GET FIRED AT SOME POINT.”

Also, [artist] managers should learn every aspect of the business – learn publishing, learn touring, learn everything you can – so that you can bring value. Don’t just be a manager where you hanging around the artist. If you’re a homeboy manager, you’re probably gonna get fired at some point, when the artist realises you’re not bringing nothing to the table. So make sure you’re bringing value.

The Mystery of the Dragon Seal on Soundcloud