Major labels - Def Jam, RCA, Atlantic - saw money in Migos too. At the end of the day, that’s the way we make money.”
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(Migos is so hot internationally that it just got an invitation to perform in Equatorial Guinea, a show that would’ve paid the group $45,000 per day, plus expenses. Even then he couldn’t fully relax: Quavo and his fellow Migos - nephew Takeoff, 20, and cousin Offset, 23 - were leaving for Europe and Dubai in two days. Last December, after his group hopscotched around the country, from Hawaii to New York and then Cincinnati, the 23-year-old arrived in Atlanta so tired he fell asleep on the train from the baggage claim to the terminal, riding it around three times before waking up. Migos’ de facto frontman, Quavo, sometimes feels the brunt of the hustle. The Juice Podcast: Beyonce, Migos, ‘The Drake Effect’ & Kendrick Lamar Most of the money is coming from touring, so my artists are doing hella shows.” “You’ve got to have seven different hustles. “You can’t just depend on the music,” says Pee. Moving forward, they started treating music - mostly mixtapes and digital singles - more like advertisements for tours, merch, endorsements and licensing than a direct revenue source. With Migos onboard, Coach and Pee signed a handful of local artists (Skippa Da Flippa, Rich the Kid, Johnny Cinco) to 360 deals that split revenue from touring, merchandise, publishing, licensing, music sales - pretty much everything. (“Pee wanted to do the label thing,” recalls Coach. Meanwhile, Pee was recovering from a dispiriting experience running a small money-pit label called Dirty Dolla Entertainment when his conversations began with Coach, who had stopped working with Gucci and started courting Migos. 2 on Billboard’s Rap Albums chart with 2011’s The Return of Mr. 1 albums on the Billboard 200 (2006’s The Inspiration and 2008’s The Recession), and Gucci Mane peaked at No. Later, on Coach’s watch, Young Jeezy scored two No. “It’s a different time for album sales, but as far as status and influence, we could be one of the biggest labels in the country.”Ĭoach grew up in Indianapolis and moved to Atlanta to run a record label with then-Atlanta Hawks forward Alan Henderson in 1996. “We have potential to be the next Roc-a-Fella or Cash Money,” says Pee. From this perch, Quality Control isn’t aiming to be a niche local operation, but a nimble national one - an indie with the power and reach of a major. “They’ll be an independent with a national view.”ĭuring the last two decades, Atlanta has become hip-hop’s “Third Coast,” a black-music mecca fueled by acts like Outkast, Goodie Mob and Lil Jon that rivaled - and later, arguably, eclipsed - New York and Los Angeles as rap’s most influential breeding ground. “There’s no question in my mind they’ll become one of the most important independent labels in the urban genre,” says 300’s Moscowitz. “We got our own producers, our own engineers.” “Everything we do is in-house,” says Pee. They spent 12 months and $1 million to build a bunker-like headquarters on Atlanta’s West Side, which houses office space and four recording studios. They started their own publishing and management ventures.
Together, they invested deeply in a carefully curated roster of young rap talents - as influential local producer Zaytoven puts it, “They’ve got all the hottest artists in Atlanta” - the most successful of whom is Migos, who command roughly $40,000 a performance.Įnvisioning a digital-age hybrid company, Coach and Pee hired a radio and promotions staff. Formed in March 2013, Quality Control is the shared vision of Kevin “Coach” Lee, a 40-something dad who used to manage Young Jeezy and Gucci Mane, and Pierre “Pee” Thomas, a 35-year-old Atlanta native who “used to wear a lot of jewelry” and grew up idolizing No Limit entrepreneur Master P.
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