Streaming made every artist reachable and almost none of them rich. We build the layer between the audience you already have and the income, brand deals, and rooms that audience should be opening, for dancehall, Afrobeats, R&B and Caribbean artists working out of New York.
What we build:
Holistic Approach
Building the always-on channels an artist owns outright, so a release has somewhere to land that no algorithm can take away.
Matching artists with brands that already share their audience, then structuring the deal so both sides get something they can point to.
Putting artists in the rooms where culture is set: courtside, front row, the moments that circulate long after the night ends.
Turning a routing into a story, with press, partners and local media lined up in every market before the doors open.
The wall above is interactive. This is the same list in plain text, because a placement nobody can read is not proof. Outlet, artist, year.
Rolling StoneSuper Cat 2014
BillboardMr. Vegas 2025
VogueSpice 2017
ElleKranium 2020
GeniusMaiya The Don 2023
The New York TimesSpice 2019
PIX11Beenie Man 2026
The Breakfast ClubDank Demoss 2024
GaloreBri Biase 2023
AllureSpice 2017
ForbesKarlie Redd 2021
VladTVMr. Vegas 2023
PeopleJennaske 2025
VibeKranium 2022
ComplexEtana 2020
Fox 5 New YorkNailah Blackman 2024
BETMinister Marion Hall 2023
REVOLTKonshens 2021
Inside EditionJunior Galette 2025
Grammy.comPatrice Roberts 2023
The audience is already there. What is usually missing is the layer between that audience and the income it should be producing: the brand deals, the sync, the rooms, the press that makes a booker take the call.
Press for an artist is not the same job as press for a brand. A release has a date, a narrow window either side of it, and a set of desks that only care during that window. Miss it and the same story is unpitchable for a year.
Playbook MG is led by Jean Jones, a former VP Records brand manager with twenty years in entertainment and consumer PR. That is why the relationships on the wall above run from Super Cat in 2014 to Beenie Man in 2026, rather than starting when the retainer did.
Label and platform clients include Warner Music, Atlantic Records, VP Records, Empire, Roc Nation, Sony Music, Symphonic, Hapilos and Audiomack, whose Caribbean division we ran press and artist partnerships for across Caribbean News, Loop Jamaica and Dancehall Mag.
Rolling Stone, Billboard, The New York Times, Forbes, Vogue, Elle, Allure, People, Complex, Vibe, BET, REVOLT, Genius, Galore, Grammy.com, VladTV, The Breakfast Club, Inside Edition, Fox 5 New York and PIX11. Every one of those is a placement we secured, and the artist and year for each is listed on this page.
They are where our relationships run deepest, from Super Cat and Beenie Man through Spice, Kranium and Konshens. We work across Afrobeats, R&B and hip-hop as well. The reason artists come to us is usually that their story is cultural and their current team treats it as a genre.
Both. We have run press for Atlantic Records and Warner Music, and we have run it for independent artists with no label behind them. The difference is scope, not standard. An independent budget buys a narrower target list, not a lower tier of outlet.
Monthly retainers on a three-month minimum, scoped to the release calendar and the tier of outlet. Single-release campaigns exist but a three-month floor is the honest one, because a national lead time does not fit inside a shorter run.
