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Jody Gerson, Universal Music Publishing CEO, on Leadership, Mentorship, Signing Kendrick Lamar, and Publishing’s Rise to a Frontline Business
Jody Gerson, chief executive of Universal Music Publishing Group, has spoken to Variety about her career, her approach to leadership and mentorship, and the transformation of music publishing into a central part of the industry. Gerson is a notable figure in the sector as the highest-ranking woman in the music business, the first female chairman of a global music company, and the first woman to lead a major music publisher, overseeing artists and estates including Taylor Swift, Kendrick Lamar, Adele and Bob Dylan.
Since taking charge of UMPG in 2015, having previously held senior roles at Warner Chappell, EMI and Sony Music Publishing, Gerson has tripled the company's revenue. UMPG now operates 48 offices across 41 countries with more than 850 staff, administering over five million copyrights, and has attracted high-profile catalogue sales from artists such as Bob Dylan, reportedly worth $300–400 million, as well as Neil Diamond and Sting. Gerson also oversees Polygram Entertainment, UMUG's film and TV arm, co-founded the nonprofit She Is the Music, and received the Industry Icon Award at the 2025 Clive Davis Pre-Grammy Gala.
In short
- Jody Gerson discusses her career and leadership at Universal Music Publishing Group.
- She has tripled UMPG's revenue since becoming CEO in 2015.
- UMPG has signed Taylor Swift and acquired Bob Dylan's catalogue under her.
Explained simply
Music publishing is the business of managing the rights to songs: the words and music, which are separate from recordings. Publishers help songwriters license their work for recordings, films, television and other uses, and collect the fees those uses generate.
Jody Gerson leads Universal Music Publishing Group, one of the major companies in this field. The company represents songwriters and manages copyrights, including works by artists such as Kendrick Lamar, Adele and Bob Dylan; it also buys song catalogues, which can provide publishers with long-term income from licensing.
Publishing has become a more prominent part of the music business as songs are used across streaming, film and television, and the value of song rights has drawn large catalogue deals. Gerson’s career and leadership offer a view of how the sector has grown and who makes decisions about managing and investing in those rights.
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