“They Offered Me Quick Cash, I Said No.” — Shaboozey Reveals Why He Turned Down 3 Major Labels Before Signing the Definitive Publishing Deal with EMPIRE
In an industry where overnight success often triggers a feeding frenzy from major labels, Shaboozey found himself standing at a crossroads. Fresh off a Grammy win and riding the unstoppable global momentum of his genre-blending smash hit “A Bar Song (Tipsy),” the Nigerian-American artist was suddenly fielding offers that promised immediate wealth and security. For many rising stars, it would have been an easy decision. For Shaboozey, it became a defining test of patience and long-term vision.
The weeks following his breakthrough were described by insiders as intense and unrelenting. Executives circled quickly, presenting lucrative deals designed to capitalize on the viral explosion of “A Bar Song (Tipsy).” The track’s unique fusion of country, hip-hop, and nostalgic hooks had not only dominated streaming platforms but also cracked international markets that are traditionally resistant to genre hybrids. With that kind of heat, quick-cash offers were inevitable.
But Shaboozey said no.
Rather than rushing into a traditional record deal structured around short-term advances, he focused on something more foundational: ownership and publishing power. Over a high-pressure four-week negotiation period, he and his team carefully evaluated proposals, scrutinizing clauses that would determine who ultimately controls his growing catalog. Three major labels reportedly presented aggressive bids, each more tempting than the last. Yet each came with compromises — particularly around creative control and long-term rights.
On February 24, Shaboozey finalized a major publishing deal with EMPIRE, a move insiders are calling both strategic and symbolic. Unlike traditional structures that often tie artists into restrictive systems, EMPIRE has built a reputation for empowering creators with flexible partnerships and ownership retention. For Shaboozey, that alignment mattered more than the size of the upfront check.
The decision signals a broader shift in the modern music business. In the streaming era, publishing catalogs have become powerful long-term assets. Control over songwriting rights means sustained revenue, leverage in licensing, and the freedom to shape one’s artistic identity without external interference. By prioritizing publishing, Shaboozey secured not just income, but autonomy.
Industry observers see this as a landmark moment for artist independence, especially for genre-fluid musicians who don’t fit neatly into traditional marketing boxes. “A Bar Song (Tipsy)” proved that audiences are no longer confined by radio formats. Its cross-genre success demonstrated that authenticity and innovation can travel further than formulaic industry expectations.
The Grammy win amplified his negotiating power, but it was his restraint that ultimately reshaped the narrative. In an age of viral fame where careers can spike and fade within months, Shaboozey chose durability over immediacy. He recognized that the true value wasn’t in the first wave of money, but in the lifetime of music he is still building.
Sources close to the negotiations describe the final agreement as “future-proof,” structured to protect his rights as his catalog expands. With multiple unreleased projects reportedly in development, maintaining control ensures that his sound can continue evolving without pressure to replicate past formulas.
By rejecting three lucrative proposals and waiting for the right partnership, Shaboozey made a statement that extends beyond his own career. He demonstrated that emerging artists in 2026 are more informed, more strategic, and less willing to sacrifice ownership for speed.
The quick cash was tempting. The spotlight was blinding. But in choosing patience and partnership over pressure, Shaboozey may have just secured something far more valuable than a headline advance — he secured his future.