Az Cohen and Believe Launch AZTEC — the French Group’s First U.S. Frontline Label

On May 7, Believe announced a new joint venture with Az Cohen called AZTEC — the French independent’s first U.S.-based record label and its first frontline foray into the country’s market.

[L-R]: Romain Vivien, Az Cohen, and Denis Ladegaillerie

The move is part of a broader U.S. strategy that doubles down on local operations. For more than two decades Believe has built a local-music empire across more than 50 territories; AZTEC signals a shift from those services and distribution roots into signing and developing frontline acts on American soil.

The new label will sit alongside other recent U.S. initiatives: last week Believe unveiled a label and artist solutions division in the U.S. led by Thomas Maxwell, and the company’s 2015 acquisition of TuneCore gives it an established DIY distribution arm. Together, those pieces create what the company describes as a full stack of services stateside — with Maxwell focused on label distribution and services and Cohen charged with running the frontline imprint.

“Our joint venture with AZTEC reflects Believe’s continued commitment to building artist-first partnerships and supporting entrepreneurs who deeply understand the creative and cultural landscape,” said Believe’s global head of music, Romain Vivien. “Az brings an exceptional ability to spot talent and build sustainable careers, and together we are creating an ecosystem designed for the next generation of artists.”

Az Cohen arrives with a résumé shaped by the modern major-label era and independent hustle. He spent 13 years at 300 Entertainment — the indie label his father Lyor Cohen helped found in 2013 alongside Kevin Liles, Todd Moscowitz and Roger Gold — and worked in A&R as the company guided acts such as Migos, Megan Thee Stallion, Young Thug and Fetty Wap. 300 was acquired by Warner Music Group in 2021 for $400 million.

While at 300, Cohen launched Sparta, the company’s indie distribution wing, which the press release credits with more than 8 billion streams across its catalog. He also managed Post Malone early in the artist’s career.

With AZTEC, Cohen frames his approach as a corrective to the short-termism he sees in today’s streaming and social landscape. “In an industry that’s become increasingly about quick wins and short-term virality, we are artists, engineers, planners and warriors with a singular focus: building empires with our artists and partners,” he said. “AZTEC is about patience, commitment and shaping careers that stand the test of time.”

Cohen will be based in New York, and Believe says initial signings will be revealed in the coming weeks and months. He plans to lean on his personal network as well as TuneCore’s distribution base and Believe’s global footprint to develop acts. “The success of artists today often starts with hyper-local stories, and it is our job to champion those around the world,” Cohen added. “Believe’s unique position as a truly global company with massive local expertise, via boots on the ground, allows AZTEC artists to be certain that their stories will be shared with new fans, no matter where that fan lives.”

AZTEC’s launch crystallizes an industry trend: the companies that once sold services and distribution are increasingly moving into A&R and artist development to capture more of the value chain. For Believe, the bet is that combining TuneCore’s DIY roots, a new U.S. label led by a seasoned A&R operator, and a national label-services executive will give it both scale and cultural credibility in the world’s largest recorded-music market.

How AZTEC executes in New York — and whether it can translate Cohen’s 300-era instincts into long-term artist careers rather than fast social-media spikes — will determine whether this is a meaningful expansion for Believe or simply the next, predictable iteration of a company consolidating services under one roof.