May is Asian American and Pacific Islander Heritage Month, and this year’s theme has been dubbed “Advancing Leaders Through Innovation” by the Federal Asian Pacific American Council. The organization not only works to support AAPI leaders in government, but to empower AAPI individuals all around the world to find success and growth in their careers in all fields.
Although the U.S. Census has reported Asian-Americans as the fastest-growing group in the country, historically AAPI musicians and executives have been underrepresented or left out of conversations altogether. Yet more and more AAPI are holding leadership and executive roles, breaking down barriers and setting an example for younger generations.
For a third year, Variety has compiled a list of 10 influential AAPI music executives — please note that this is not a ranked “power list” — we highlight a different group every year: See our lists from 2023, 2022 and 2021.
Warda Baig
Live Nation
Global tour promotion
Baig works with a diverse mix of artists and genres, including Daniel Caesar, Maverick City Music, NF, TLC, and Shaggy. She also played a major role in promoting Kendrick Lamar’s “Mr. Morale and the Big Steppers” tour in 2022, one of the top-grossing hip-hop tours of all time.
Warda’s current slate of tours includes Maggie Rogers, Tye Tribbett and Friends, and Daryl Hall and Elvis Costello & The Imposters with Charlie Sexton. She works closely with Live Nation’s External Resource Group, Asian Nation, overseeing the production of events that aim to raise awareness, educate, and celebrate Asian culture.
Have you seen progress in the music industry as far as AAPI representation?
Over the course of my 13-year career in the industry as a first generation Pakistani-American, I’m proud to say I’ve witnessed a lot of progress when it comes to AAPI representation. AAPI artists are owning their heritage and connecting with audiences on a global scale. There’s a much bigger appetite to see AAPI artists live at venues of all sizes, from clubs to stadiums, and their fanbases have grown exponentially and are more diverse than ever before. We’re also seeing more AAPI artists top the charts, be spotlighted on streaming platforms, and headline festivals around the country.
What do you think is the most pressing issue the AAPI community is facing?
We need to focus on continuing to develop AAPI leaders, particularly for positions in C-suites, boardrooms, and other leadership roles across the industry.
Nick Barr
Pulse
Senior vice president
Barr is currently works in A&R and leads digital marketing at the publishing and management outfit. Previously a VP of A&R and creative strategy at Island Records, at that company he played a key role in signing and developing new talent such as Charlieonnfriday and led campaigns for Sabrina Carpenter — whose song “Nonsense” garnered nearly a billion streams across all platforms — along with Shawn Mendes, Demi Lovato, Lauren Spencer-Smith and more.
Barr began his music career while attending college in Louisville, Kentucky, and worked with R&B stars Bryson Tiller and Khalid early in their careers. Barr has also been on Lil Tjay’s management team for the past five years, and works with 14-year-old country-pop artist Maddox Batson.
Have you seen progress in the music industry as far as AAPI representation?
Yes, I definitely think so. It’s great to see executives like [Warner Records EVP] Karen Kwak and [Warner Chappell publishing VP] Jon Chen, and artists like Keshi, Joji, and newcomer Beabadoobee. However, I saw a recent study that 44% of U.S. citizens cannot name a single famous Asian-American, and that is a problem.
What do you think is the most pressing issue the AAPI community is facing?
The biggest issue is still an overall lack of community, support and representation. I had the privilege of sitting on the Universal Music Group AAPI executive committee with great UMG executives Barry Fernando and Raymond Mai, and that is a great start — but we all need to do better.
In addition to increased visibility for AAPI execs and artists, I think more progress starts with empowering the next generation of young AAPI executives, artists, and creatives alike — while supporting their ambitions in letting them know that yes, it is possible to have a career and be successful as an Asian-American in the entertainment industry.
Michael Chua
Ticketmaster
VP of global business development & strategic partnerships
Chua is a driving force behind securing high-impact deals with major platforms such as Snap, TikTok, and Google. These partnerships create new pathways for fans to discover live entertainment events while simultaneously empowering artists to reach new audiences.
Beyond core business initiatives, Chua is an advocate for diversity and inclusivity within the industry, working closely with Asian Nation, an employee-resource group, where he participated in Roc Nation’s LIU conference and played a pivotal role in establishing the LNE partnership with Gold House for the Futures Music Guild initiative. That initiative focuses on the development of rising Asian music artists.
Have you seen progress in the music industry as far as AAPI representation?
Yes – but it’s still early innings. Largely as a reaction to the rise in anti-Asian racism during the pandemic, the AAPI community over the last few years has galvanized like never before to change the cultural narrative surrounding us, on our terms and through our voices. This has led to a creative boom in distinctly Asian-led stories and casts attaining commercial success on a global basis in film and television. I truly believe that this groundswell will cross over to other cultural categories, including comedy and music — in fact, you’re starting to see this already. There’s pent-up demand for diversity on our screens and stages, which is being met by a growing pipeline of AAPI artists and creators who are inspired by increasingly more examples of success around them.
Representation, however, is also critical behind the scenes. We need to continue cultivating the next generation of AAPI leaders and similarly show them that ceilings can be broken. I’m constantly inspired by AAPI leaders in our industry, like Christine Cao (of Live Nation Concerts) who are true change-makers that invest in Asian talent on and off our stages.
What do you think is the most pressing issue the AAPI community is facing?
Asian leaders have a responsibility. While we’re starting to see more Asian executives in positions of influence, they’re still the ones who are “breaking through” against the statistics. Asians as a group see one of the biggest drop-offs in senior and executive management representation. It’s our job as leaders to reach back and pull our community up through guidance, coaching, and mentorship, so that representation becomes the norm and not the exception. Trailblazers need to show others the trail.
Janet Kim
UTA
Music agent
Kim represents a wide array of clients such as ABS-CBN, AleXa, BUSTED, eaJ, Gottmik, Joe Jonas, Johnny Orlando, KARD, Natalie Jane, Paris Hilton, Plastique, Violet Chachki, Zolita, Patrick Martin, and more.
Alongside global co-head of music David Zedeck, Kim works to expand the K-Pop roster for UTA, signing top names like PSYand KARD and working with upcoming acts like Billlie, LUCY and STAYC.
Kim has also been working with Paris Hilton to continue to expand and develop her brand, particularly in the LGBTQ+ community. Kim helped secure Hilton’s Pride Month kickoff concert in June 2023, which took place at the Fonda Theatre with special guests Saweetie and Kim Petras.
In the multi-hyphenate space, Kim represents Golden Globe winning and Emmy-nominated actress, singer and activist, Michaela Jaé Rodriguez. She performed on the main stage at LA Pride last summer and the main stage at Nashville Pride, booked by Kim and her colleagues.
Have you seen progress in the music industry as far as AAPI representation?
I’m happy to say yes! Progress can be slow, but it’s moving in the right direction and the fans are the impetus for change. As consumers continue to support AAPI artists by purchasing tickets to shows, adopting the brands that AAPI talent is associated with, and consuming their content, opportunities open up for more AAPI artists to see a path into this industry. I do see more AAPI artists on all types of lists, from nomination lists and festival posters to music charts and A&R lists of acts the industry is excited about. There’s always room for more artists, and the fans are helping to shine the spotlight on AAPI talent.
What do you think is the most pressing issue the AAPI community is facing?
AAPI is a very small label for a very diverse and complex group of people. Although there is a megaphone on certain genres of music coming out of Asia, there are still many AAPI artists and voices not being heard. The big business and pop culture penetration of certain Asian genres has benefitted AAPI artists here in the States by proving the viability of Asian talent. However, there is still so much more to discover and support. Also, when it feels like there is only room for a couple of AAPI artists to break through, it creates an environment of silos. The most pressing issue facing the AAPI music industry community is not having a community yet! There were too few AAPI artists to even be a “group,” and although it is slowly growing, we’re still too divided to be called a community.
Zeena Koda
Asian American Collective
Co-founder
As the co-founder of this AAPI non-profit, Koda leads its focus on mentorship, community and raising awareness for the music and creative industries. Koda is also a board member of FACE, a non-profit aimed at amplifying Filipino creatives in media and bringing them to the forefront, as well as a Grammy Academy member helping launch the Grammy Gold Alliance this year.
A 15-year veteran of the brand, tech and entertainment industries, at Cornerstone Agency, Koda built out a lifestyle marketing arm, serving as a key liaison for campaigns for Converse, A24, Citaminwater, Puma, and others. She’s also a former media personality and podcast host, with over a decade of music and lifestyle journalism under her belt.
Have you seen progress in the music industry as far as AAPI representation?
There has not only been incredible progress, but it feels like there finally is a seat at the table for us in the larger scheme of media. When you look at who is moving global music, acts like Seventeen and Stray Kids are dominating revenue-generation at the top. The Recording Academy has finally launched the Gold Alliance, aimed at giving more visibility to AAPI musicians and professionals across its network. 88rising has generated one of the biggest global festivals. Gold House has created a space for visibility at the highest tiers. Many community organizations like ours, Asian American Collective, have transformed what community looks like for API’s and connected creatives across interests. We’re seeing more and more organic and authentic representation across the industry because more of us are filling these seats.
What do you think is the most pressing issue the AAPI community is facing?
The AAPI community is very multi-faceted, and although we have come a long way, there is still a stretch of work to do to truly represent the many different cultures across the diaspora. I do have the hope that as the world of music becomes more globally aware, new audiences will be open to consuming different music from AAPI artists, as we’ve seen with African artists in recent years. There are so many eclectic tastes and styles to be highlighted!
– OCTOBER 02:
Nina Lee
Oriel Company
VP of communications
With over a decade of PR experience, Lee spearheads campaigns and strategy for major artists like Maxwell, Daniel Caesar, No ID, Betty Who, Hannibal Buress and 88rising’s Joji and Rich Brian as well as up-and-comers like D4vd and UMI. A first-generation Korean American and New York University graduate, Lee began her career at Press Here Publicity before moving over to Shore Fire Media in 2015, and joined Oriel six years later.
Have you seen progress in the music industry as far as AAPI representation?
Yes! There certainly has been progress in recent years. Asians and Asian-Americans are making strides and gaining visibility and recognition across multiple genres, from R&B and hip-hop to pop and alternative. I feel lucky to represent acts like Rich Brian, Joji, Audrey Nuna, and UMI, who are all making strides in an industry that does not have a long track record of making Asian artists into stars — not to mention working on massive live events like Head in the Clouds New York Music & Arts Festival, curated by 88rising. This is an event created by and catering to Asians and Asian-Americans — it’s not something I could have dreamed of when I was younger.
However, challenges and underrepresentation will of course continue to persist, and there’s still work to be done to ensure equitable opportunities and recognition for AAPI artists. Advocates and industry insiders need to continue to push for more diversity and inclusion in the music industry, both on and off the stage.
What do you think is the most pressing issue the AAPI community is facing?
The model minority myth is a harmful stereotype that suggests certain minority groups, particularly Asian-Americans, are inherently successful, hardworking and academically or economically high-achieving.
In the context of the music industry, the model minority myth can manifest in various ways. For example, AAPI artists may be pressured to conform to certain stereotypes or expectations, limiting their creative expression and opportunities. The same goes for executives.
Addressing the model minority myth in the music industry requires challenging these ideas that have been baked into us while amplifying diverse voices and experiences and advocating for equitable opportunities and representation for all artists. It’s essential to recognize the complexity and diversity within AAPI communities and to create spaces that allow for authentic and inclusive storytelling in music.
Ellen Lu
Goldenvoice
Vice president
With 10 years of experience promoting the major concerts and music festivals, Lu books and produces Tyler, the Creator’s Camp Flog Gnaw Carnival, held at Dodger Stadium in Los Angeles. A first-generation Taiwanese-American, Lu also oversees 88rising’s global festival Head in the Clouds Music & Arts Festival, with its flagship in Los Angeles at Brookside at the Rose Bowl, and at Forest Hills Stadium in New York. While she’s very active in the festival world, she still promotes concerts throughout Los Angeles.
Have you seen progress in the music industry as far as AAPI representation?
Absolutely. Now more than ever, people’s palate for global entertainment has expanded, and we see that through the music, films, TV shows, books and more that people are consuming. Plus, there’s a new generation of homegrown Asian-American talent at the forefront of this movement, redefining the landscape of representation in music for our community. We’re also seeing a shift happening behind the scenes across all sectors of the music industry, and this shift is credited to those who paved the way before us: Instead of continuing to walk ahead without looking back, a lot of them have turned around to reach for us and pull us up.
What do you think is the most pressing issue the AAPI community is facing?
In the same breath as my answer above, there’s still a lot of progress to be made when it comes to AAPI representation. There’s a disconnect when it comes to a more holistic representation of the AAPI community beyond East Asian representation (Korea, China, and Japan). Asia is vast and encompasses so many other countries, so when we speak of AAPI representation it needs to include South and South-East representation. Although many strides have been made (and we should be proud of it!), we need to strive for a more inclusive concept of true representation for our community.
Brittany Nguyen
Interscope-Geffen-A&M Records
Director of marketing
A Los Angeles native, Nguyen oversees marketing strategy for such acts as Lana Del Rey, Imagine Dragons, Karol G, D4vd, Role Model, Cuco and more. Previously, Nguyen was a member of the marketing team at AWAL, where she worked on campaigns for Lauv, Girl in Red, Steve Lacy, Mxmtoon, Kim Petras and Snoh Aalegra, as well as the Asian-American-centric label and platform 88rising.
Have you seen progress in the music industry as far as AAPI representation?
I feel very lucky that I’ve always had exceptional AAPI mentors in my life, but it’s much easier to connect with others across the community nowadays. When I first started in music, it was hard to find and connect with people who looked like me — I didn’t know there were so many AAPI in music. I joined 88rising because I was deeply drawn to work for my culture. When I left in 2021, I was scared I wouldn’t ever be able to find a community of incredible, smart, creative AAPI executives and work with them in the same way as I did at 88.
The spaces created by organizations like the Asian-American Collective and Goldhouse are truly invaluable — I have met some of my closest friends because of these groups. At Interscope, I was awed to find so many AAPI executives at the company across all levels, but especially on the senior leadership team. My friendships across this industry have never been more diverse and fulfilling than they are now, and this is entirely thanks to the network we’ve built as a community. So many of us have been here all along, but now it’s easier than ever to meet each other, collaborate and champion one another. The influx of events around APAHM and Lunar New Year show that more and more companies are willing to invest in Asian communities and support AAPI talent. I hope we continue to build spaces to uplift all underrepresented groups within our industry.
What do you think is the most pressing issue the AAPI community is facing?
There’s still a disconnect with AAPI coverage in media. I wish more people paid attention to AAPI stories – good or bad – and not just during APAHM. Within our own community, we’re often taught to respect hierarchy, to concede to authority, and to be grateful for what we already have. But it’s not enough to just be here. We also need to be talked about, celebrated, and seen. Visibility and recognition are outcomes we must keep pushing for.
Vivian Phan
TikTok
Senior manager of label & promotion partnerships
In her role managing relationships with major label partners and marketing initiatives, Phan’s recent campaigns for viral tracks include Thủy’s “Girls Like Me Don’t Cry” (sped up), Justine Skye’s “Collide” (sped up) and Benson Boone’s “Beautiful Things.”
A Vietnamese-American native of Orange County, Phan was a pre-med student before joining the Crowd Surf marketing agency in 2015. She eventually lauched her own digital marketing and social media business; over the years she has worked closely with artists such as Becky G and CNCO, spearheading their social media strategies. She is also a member of the Asian-American Collective, where she has served as a mentor.
Have you seen progress in the music industry as far as AAPI representation?
There’s been a lot of progress since I started in music 10 years ago. I remember being the only AANHPI employee at one of my jobs – there wasn’t representation like there is now. Today, our brothers and sisters are in leadership roles, there are community groups like AAC and [the AAPI female-owned clothing brand] Asian-American Girl Club, and there are Vietnamese-American artists like Thủy and Tongan-American artists like Dinah Jane who are making an impact in music and throughout our communities. However, there will always be more work to be done. It’s important that our community continues to support and uplift one another because no one else is going to care as much as we do. That’s what my late dad taught me through his advocacy for our local Vietnamese community. He’s the reason for my passion and dedication to this.
What do you think is the most pressing issue the AAPI community is facing?
Inclusivity, invisibility and ignorance. Yes, there is more representation, but we need more inclusion in every aspect: a seat at every table (not just the AANHPI tables), roles on all kinds of screens (not just AANHPI films/shows), presence on every stage (not just the AANHPI ones). Our community can also experience feeling invisible or overlooked. We must continue using our voices to amplify our stories and remind others that we’re here and we’re not going anywhere. Finally, ignorance surrounds us whether it’s against our cultures, our food or our accents. People might assume that because we have an accent, we’re not intelligent or we don’t understand things clearly. The prejudice is unbelievable and it’s up to us to challenge them if we want change.
Frankie Yaptinchay
Amazon Music
Audience development and creative partner
Yaptinchay has spearheaded the Amazon Music and Recording Academy’s Black Music Collective’s work to launch a HBCU Scholarship program called Your Future Is Now. This program offers HBCU students a $10,000 scholarship and a week-long immersive program to meet with Amazon Music department leads. This initiative has donated music equipment grants to five HBCUs and created 12 scholarships for students pursuing a career in the music business.
He is also a Recording Academy Governor and Co-Founder of the Gold Music Alliance (GMA). This new collective was launched during the 2024 Grammy week and is the first API focused initiative at the Recording Academy, amplifying Asian and Asian Americans in the music industry. He also spearheaded a collaboration with Asian American Girl Club.
Have you seen progress in the music industry as far as AAPI representation?
Absolutely. There has always been AAPI representation in the music industry, the big difference now is that the contributions of Asian and Asian Americans are being recognized on a larger scale. And this isn’t just in music. Across fashion, film, TV, sports, and food, the AAPI community is driving the culture forward. We still have a long way to go, but in the past few years I’ve seen progress in the accessibility of AAPI professionals and creatives in the music industry.
Just look at the wide array of Asian and American talent featured at marquee festivals like Coachella this year. The prominent placement of 88Rising, Thuy, Ateez, the Rose, Yoasobi & Le Sserafim, Peggy Gou, and more at these events demonstrates the global impact these artists are making at the highest level. These artists are breaking down barriers and making history, and I couldn’t be prouder on the visibility they are providing for future generations. I also love seeing the community supporting one another in driving representation forward thanks to AAPI focused organizations like Goldhouse, Character Media, Asian American Collective to allies like the Recording Academy that have highlighted and celebrated Asian representation across diverse creator communities.
What do you think is the most pressing issue the AAPI community is facing?
As strong as the AAPI community is, I still believe we can grow stronger together. We need more collaboration! There are so many amazing different groups doing incredible work in the industry, and I feel there are still dots to be connected to amplify their contributions on a global level (not to mention, finding one another). I think the AAPI community still faces issues accessing roles, networks, and resources. I also believe AAPI creators still are searching for community even amongst their own peer groups. I’d love to see the growth within the community internally to help grow the framework and build avenues for the next generation.