The timing was really right for me to shine.īut then I started getting the sense that things were not right after I did the second album. Then people who worked at the company started warning us, so we looked into the history of the company and were like, “ Daaamn, what did we get ourselves into?” Things started out cool because Blackground was distributed through Universal, which is a very powerful company, and they were looking to break a young female artist. That was the first inclination that things were not as they seemed. Within the first few months of signing, I started hearing horror stories from other artists who used to be signed to the label. We thought, You know more than us, so you must be right. You’re gonna be protected.” We didn’t know anything. We were assured that the deal was very normal, and the lawyer that I was with at the time said, “This is a great deal, you shouldn’t look into it any deeper than what it is. And I also believed through conversation and an understanding that if it wasn’t working out between us, it would be okay and we could go our separate ways. I wanted to keep making music with my family, so I didn’t see it as a huge commitment. I had signed a seven-album deal, and I figured I could put out an album every year or two years.
to New Jersey, and I recorded my debut album there. My mom was by no means a stage mom, it was just her and me. I’m gonna be able to buy you a house one day, Mom.” That’s what we wanted. I signed the deal in California and went skipping down Sunset Boulevard ‘cause we’re like, “Our lives are gonna change! I’m gonna have my own bedroom. That was important to us because it’s just me and mom, so family was something we were really looking for. So my mom was like, “Okay, at 12, maybe it’s time.” We really felt comfortable with Blackground, like this was our family. I was 12, and I’d been offered production deals before, from the age of 9. Vulture caught up with the singer ahead of her November 3 show at New York City’s Webster Hall for a candid conversation on how she’s risen from the ashes of an industry that burned her. Now, at 24, JoJo’s back with a new label (Atlantic Records), a tringle (the term she coined for her new three-song single, led by the should-be hit “When Love Hurts”), a headlining tour, and her third album, finally out next year. 1 hit with 2004’s “ Leave (Get Out),” but her career stalled for more than seven years, when her label repeatedly failed to release the follow-up to her (aptly named) 2006 sophomore LP, The High Road, while also refusing to let her out of her seven-album record deal. Those following her story know it’s an extreme example of music’s convoluted business practices, but sadly, not all that rare in the major label world, with everyone from Big Boi to, most recently, Kesha having to fight for their right to release.Īt 13, JoJo became the youngest solo artist in Billboard history to score a No.
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In 2014, pop star JoJo broke free from her contract with Blackground Records, ending a Behind the Music– worthy, nearly-decade-long legal battle with the label that signed her when she was just 12. “I’d be lying if I said, Oh, no, that doesn’t affect me at all.”
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