Gorillaz have entered a bold new era with the release of The Mountain on the virtual band’s own label, KONG.
Twenty-five years on from their debut album, the new independent label is overseen by Gorillaz (Damon Albarn and Jamie Hewlett) with Eleven Management. Global digital and physical distribution is via The Orchard.
The band’s chart ascent to the summit with The Mountain suggests it’s all gone according to plan, with the latest Midweek Sales result showing the album heading for No.1 in the UK with 26,128 sales so far (22,437 physical copies, 1,068 downloads and 2,623 sales-equivalent streams), according to the Official Charts Company.
With their new independent label status in partnership with The Orchard, Gorillaz are building on the success of 2023’s Cracker Island, their final album with Parlophone after more than two decades. Cracker Island became their first No.1 in the UK in 18 years with opening sales of 22,240.
Crucially, The Mountain has already surpassed that and, ahead of the final chart result, is already confirmed as the best week one result for Gorillaz since 2017’s Humanz charted at No.2 with 44,465 sales.
Produced by Gorillaz, James Ford, Samuel Egglenton and Remi Kabaka Jr, plus Bizarrap (Orange County), The Mountain was recorded at Studio 13 in London and Devon, various locations in India including Mumbai, New Delhi, Rajasthan and Varanasi, as well as Ashgabat, Damascus, Los Angeles, Miami and New York. The album features artists performing in Arabic, English, Hindi, Spanish and Yoruba.
While Gorillaz are well known for guest features, there’s a bittersweet quality to this record with the voices of “friends and collaborators who have gone before us”, including Bobby Womack, Dave Jolicoeur of De La Soul, Dennis Hopper, Mark E Smith, Proof and Tony Allen.
Following the Top 75 singles chart impact for The Happy Dictator featuring Sparks last autumn, the album release could secure another chart entry for The Moon Cave, featuring Asha Puthli, Bobby Womack, Dave Jolicoeur, Jalen Ngonda and Black Thought.
The record also features Ajay Prasanna, Amaan & Ayaan Ali Bangash, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Trueno and Yasiin Bey.
For this campaign, Gorillaz have also revived gamified website Kong Studios, the virtual band’s HQ and the home of Gorillaz since early 2000. The new Kong Studios is an artist-centric, direct-to-fan platform connected to Openstage.
Kong Studios is also home to Hewlett’s artwork for Gorillaz, which is also on display at the new immersive House Of Kong exhibition at Rolling Greens in LA until March 19. It follows the London exhibition last autumn.
The band played The Mountain in full (with special guests) at their Hollywood Palladium shows last month. They will play intimate gigs at Bradford Live (March 13-14) followed by a UK and Ireland arena tour, leading up to their Tottenham Hotspur Stadium show on June 20 – the first ever headline stadium show for Gorillaz.
Here, Music Week gathers Eleven Management’s Niamh Byrne (manager & co-founder) and Tanyel Vahdettin (MD and A&R for The Mountain), alongside Damon Albarn and Jamie Hewlett, plus The Orchard’s CEO Brad Navin and president/COO Colleen Theis, to reveal the global plans and creative ambition for The Mountain…
How is this campaign different to previous releases now management and the band are overseeing the label operation with The Orchard? What made you want to go with them as a partner?
Niamh Byrne (manager & co-founder of Eleven Management): “Gorillaz and Eleven have a long history of producing everything in-house. Gorillaz is a complex proposition and it has its own unique ways of doing things, so we are quite self-sufficient. We also have an incredible hard-working team that delivers everything from A&R, campaign ideation, marketing, digital strategy, creative production and more. So making the transition to The Orchard for distribution was surprisingly seamless.
“Gorillaz is a huge global proposition and it requires scaling up internationally, so it is essential to have a partner that can work with us across the world. Together we have hand-picked local teams in each territory and it has worked very well. The Orchard has the contacts that we need and the ability to distribute at scale.”
In terms of the investment in this ambitious project, has that come from the band and The Orchard?
Niamh Byrne: “The investment has come from both Gorillaz and The Orchard. There are many aspects to a Gorillaz campaign and the release of the record itself is one key part. This year we produced an immersive exhibition in both London and Los Angeles and staged bespoke full-album performances ahead of a world tour starting this year. There is never any compromise to the quality of the output. The Gorillaz business is here for the long term. It is essential to invest in your work if you want to sustain the level of success for the length of time that they have done."
What are the global ambitions for this Gorillaz album, particularly in key markets such as the UK and US? Can they get bigger at this point in their career?
Niamh Byrne: “Our ambition on any Gorillaz album release is to match the high bar of Damon and Jamie’s creative output. We always strive to achieve more and reach new people, for the band to speak directly to their audience in new and interesting ways, most recently via projects including Kong Studios and the House of Kong immersive exhibition in the UK and US. Gorillaz is truly unique in that the music and the world of Gorillaz – together – allow us to pursue ever-evolving and exciting ideas, so there's every reason to believe that Gorillaz will continue to grow.”
(L-R) Ina Dubois (campaign director, Eleven Management), Niamh Byrne (manager and co-founder of Eleven Management) and Tanyel Vahdettin (MD of Eleven Management and A&R for The Mountain)
The Mountain has features on every song, how complex was it as a recording project? Is this record a defining statement of what Gorillaz represents in terms of a truly global musical collaboration?
Tanyel Vahdettin (MD of Eleven Management and A&R for The Mountain): “Collaborating with featured artists around the world has always been about Gorillaz working with different cultures and worlds. When an artist comes into the studio, nothing is forced and Gorillaz always try to record face-to-face, rather than sending files across the world, preferring to actually travel to the destination and work there.
It really is about collaborating with different cultures and sounds, there is no real genre with Gorillaz, it’s universal, open and expansive
Tanyel Vahdettin
“When looking for featured artists, it’s about the sounds or vocal needed, whether that’s a rapper to bring a certain energy or tone to the song like Blackthought, or a woman with a delicate voice to accompany the track in a melodic way like Kara Jackson, or a punk rock style to give swag like Joe from Idles. The work dictates what’s needed. It really is about collaborating with different cultures and sounds, there is no real genre with Gorillaz, it’s universal, open and expansive. Damon and Jamie recorded The Mountain in various parts of the world, Mumbai, Delhi, Varanasi and Jaipur. We had sessions in Miami, Orange County, New York, London and Devon, with inspiration and work from Syria and Turkmenistan too.”
Niamh Byrne: “The recording took place in multiple locations around the world – Gorillaz have always been well travelled. The first record was recorded in Jamaica, subsequent records in other locations. Going to India was a natural progression. Collaborations have also been a consistent feature of Gorillaz records since the beginning – it’s part of their DNA.”
The volume of posthumous recordings is both unusual and exciting for fans – were these recordings that were not ready for previous releases or just didn’t quite fit? Were there any challenges in using those recordings in terms of clearances/rights?
Tanyel Vahdettin: “Gorillaz are always recording sounds and sessions, recording on days off while on tour or recording traffic sounds while travelling. Back in London, many artists come by the studio spontaneously. As this record has themes of past and present, loss, grief, hope and joy, it was a natural step for Gorillaz to revisit some of the artists who have passed. There were moments of sadness listening back to a Tony Allen or Bobby Womack or a Proof session, but what was amazing was how they fitted on this record – their spirits were very present.”
Niamh Byrne: “Over the years there has been many times that featured artists have been in and out of the studio, and recordings have taken place between sessions. Studio 13 [in West London] has a very easy ‘drop-in’ feel to it so there are often sessions that have not been used. The studio is a very vibrant, busy place with people coming and going all the time.”
Gorillaz had a long, successful run with Parlophone – going back to the EMI era – why was this the right time to launch your own label? How does it feel to be outside of the established label system?
Damon Albarn: “We’ve been in the corporate structure for a long time and I didn’t want to be part of that corporate philosophy any longer. An independent philosophy is more conducive to making good work.”
An independent philosophy is more conducive to making good work
Damon Albarn
Of all the many guests on this record, is there one favourite memory of the creative process of collaboration, particularly among those vocalists and musicians who are no longer with us?
Damon Albarn: “We spend time with all of the artists that appear on our records, they’re all favourites, which is why they’re there. With those who have passed, having their voices from sessions we did together – and we use them in the live performance – and with that connection, which is made with the listener or the audience, it’s a form of incarnation. So that in some way, on some level, we don’t die.”
Jamie Hewlett and Damon Albarn at Mumbai Airport (credit: Blair Brown)
Gorillaz projects were always painstaking when it came to the visual side. At a time when AI is a concern for the creative sectors, how does The Mountain reaffirm the human role in visual art, storytelling and music?
Jamie Hewlett: “There’s no comparison to the emotional connection you get from a human; that we are having to reaffirm the human role in art is nuts. There is heart and soul in art, isn’t that the point? I’m not anti-technology but using AI in making art, removing that sweat and effort also removes the meaning.”
I’m not anti-technology but using AI in making art, removing that sweat and effort also removes the meaning
Jamie Hewlett
In terms of a label services partnership with a major artist, how big a deal is the new Gorillaz album?
Brad Navin (CEO, The Orchard): “Working with an artist of Gorillaz’s stature, especially on their first ever independent album with KONG, is definitely special. We've been lucky enough to partner with some of the biggest and most influential artists globally, across all genres, which is always exciting and inspiring. That said, The Orchard treats every client the same way – with a rigorous and dedicated approach. Our partners trust us precisely because we bring the same level of hard work, strategic focus, and global execution to every release, whether it’s a brand new artist or an iconic act like Gorillaz.
“The massive effort and commitment we're putting into this campaign isn't just for show; it's simply how we operate. It proves our commitment to getting the best result for all our partners, and is a powerful statement about the independent music scene.”
Our team has been working in lockstep with Eleven Management over the past year to deliver coordinated, localised campaigns that amplify the band’s efforts across all markets
Colleen Theis
What range of services are you providing for this campaign? With your global footprint, how can you help the band expand their reach in certain territories?
Colleen Theis (president & COO, The Orchard): “Our team has been working in lockstep with Eleven Management over the past year to deliver coordinated, localised campaigns that amplify the band’s efforts across all markets and a wide range of outlets. This includes digital and physical retail marketing, community building, listening parties, video screenings, media partnerships, radio promotion, advertising and press. Together we’re maximising the band's reach and continuing to expand their base through fan-centric events like global cinema screenings of The Moon Cave and House of Kong activations in core markets, to amplify visibility and reinforce their connection with a diverse global audience.”
With Jamie Hewlett's artwork and the various editions, how strong is the demand for physical? How is The Orchard drawing on its enhanced physical distribution capabilities internationally?
Colleen Theis: “Jamie’s artwork is iconic and instantly recognisable. Demand for quality physical products is stronger than ever, especially with such incredible visuals. To further engage Gorillaz’s highly activated fanbase, a massive global campaign of over 300 listening parties was rolled out at indie stores and listening bars worldwide. This activation takes the music directly to the fans in a communal, global celebration across cities in the UK, Europe, Latin America, and Asia – including five cities in India, in keeping with the theme of The Mountain. Driven by The Orchard’s Commerce team as well as OPEN, our international physical distribution network, these unique sessions give fans a gathering place to celebrate the release, as well as showcase the product variants and retail exclusives.”
Jamie Hewlett, Damon Albarn and Gorillaz (credit: Reuben Bastienne-Lewis)
Is this a record where you can maintain momentum on streaming, with multiple singles as the band tours the record internationally? Are there any key tracks as the album lands?
Colleen Theis: “The Happy Dictator and Orange County have amassed 44 million combined global streams on Spotify and Apple Music [to date], indicating significant listener engagement. Likewise, the tracks have made solid inroads at radio, particularly within alternative formats in the US, UK, Europe and globally. The Moon Cave is positioned as the next major focus track for radio and streaming promotion.”
Jamie Hewlett, Damon Albarn and Colleen Theis (credit: Pooneh Ghana)
With the Super Bowl impact of Bad Bunny and the return of Raye, in addition to Gorillaz, does it feel like The Orchard is taking the label services model to new heights?
Brad Navin: “It's business as usual for us. As we head toward a big milestone – our 30th anniversary in 2027 – we’ve built great partnerships with our clients. This lets us work closely and collaboratively with them, using constant feedback to shape strategy and get results. We're still dedicated to the core idea that has guided The Orchard from the start: being the best and most committed partner to our independent artists and labels, helping them reach their goals globally in this rapidly evolving industry.”
Working with an artist of Gorillaz’s stature, especially on their first ever independent album with KONG, is definitely special
Brad Navin
What was the reaction to the new material at the Hollywood shows? And the Bradford shows must be the most intimate Gorillaz have done for years. What was the demand like and are the band excited about scaling down for those?
Niamh Byrne: “Playing the album in full before a record has even come out is a very challenging thing to do. But Damon and Jamie always embrace those ideas and deliver time and time again. The crowd in Los Angeles were very attentive and showed their appreciation for being part of something really special. This album in particular lends itself to being played in full. We are looking forward to doing warm-up shows in Bradford. Given that the tour eventually scales up to massive venues like London’s Tottenham Hotspur Stadium, these shows are the closest fans will get to the band this year.”
As well as arena dates, as you said Gorillaz are playing Tottenham Hotspur Stadium – the first headline stadium show of their long career. What are the plans for that show in terms of special guests?
Niamh Byrne: “As with all Gorillaz shows, we will try to bring as many of the special guests as possible. It’s not always possible to have all but that’s what makes each show unique, there’s an element of the circus coming to town for every show. Tottenham will be no different in that respect. We are looking forward to Gorillaz playing a stadium show and it’s always great to play to a home crowd, we have no doubt that it will translate really well in this setting.”
How significant is that Tottenham show in terms of their live business and does it feel like the start of a new, even more ambitious phase of touring? Are there logistical challenges for the band on the road given the range of guests?
Niamh Byrne: “It’s significant that after 25 years we continue to grow Gorillaz audiences and continue to increase venue capacities. This also translates internationally with Gorillaz doing their biggest US and South American dates ever. There are always logistical challenges but that is par for the course. It’s live – live is challenging and it takes a village… as they say. We are very lucky to have such an incredible live team who understands how involved a Gorillaz show can be.”
It’s significant that after 25 years we continue to grow Gorillaz audiences and continue to increase venue capacities
Niamh Byrne
How has the House Of Kong exhibition brought the visual side of the project to the fore? And how has that helped to drive interest in the campaign?
Niamh Byrne: “Gorillaz has always been an audio/visual experience and doing the exhibition was an opportunity to house everything into one place. Only then can one understand the vast output of artwork, music and creativity involved and get a sense of what it’s all about. We used the celebration of 25 years of the band as an opportunity to re-visit complete album performances at the end of the exhibition run, with the final performance being The Mountain heralding the future.”
Kong Studios was central to the first phase of Gorillaz. How has that gamified experience developed and expanded with The Mountain?
Niamh Byrne: “Bringing Kong Studios back has been something we wanted to do for some time. Fans are incredibly engaged in the character lore and having an online destination really helps to keep this aspect alive. It also allows us to showcase Jamie’s artwork in higher res than is possible on social media, which is important as his artwork constantly evolves – this campaign sees his most detailed and intricate work ever. Gamifying Kong was the perfect next step.”
Finally, Gorillaz had a successful catalogue campaign last year, are the band reaching a new audience? Are there plans to explore further catalogue opportunities?
Niamh Byrne: “Gorillaz is an ‘always on’ proposition. We are always mindful that there are new fans joining all the time – so it is important to re-tell the story around each album, all the time. We work instinctively but it is always reassuring to see the data and know how much Gorillaz continues to stay relevant and continue to expand. There’s something timeless about Gorillaz, both the music and animation are not tied to a particular moment and fans can arrive at any record at any time and still see it as fresh. This year in particular has seen significant growth across the board.”
FOLLOW 
