Wendy Ong

It’s not every day you hear of Singaporeans making waves in the music industry—let alone in Hollywood. Yet Wendy Ong, Global Co-President and Chief Marketing Officer (CMO) of TaP Music, is transforming that narrative with a career that spans some of the industry’s most prestigious record labels and artist management firms.

Wendy Ong’s remarkable career spans the global music industry, from domestic U.S. marketing to international strategy, and most recently, artist management. Her journey, which began in Singapore and has taken her to leadership roles at the world’s top music companies, solidifies her status as a preeminent modern music executive.

She oversees a diverse roster of globally renowned artists, including Lana Del Rey, Ellie Goulding, Caroline Polachek, Noah Cyrus, Dermot Kennedy, and Mabel, and was instrumental in Dua Lipa’s rise to global pop stardom. Earlier in her career at Capitol Music, she was fundamental in launching Sam Smith’s career in the U.S.

Her career began at BMG Singapore, focusing on Soundtracks, Jazz, and New Age. She soon moved to Hong Kong to supervise pop releases across Asia Pacific, gaining first-hand experience with regional Asia Pacific market dynamics. Relocating to New York City, Wendy transitioned into International marketing, working for Clive Davis’s Arista Records. Over the next decade, she made significant contributions to the global success of artists such as OutKast, P!nk, Alicia Keys, and The Strokes.

Her roles at both Arista and later EMI, where she became Head of Classical, honed her ability to lead both domestic and international campaigns. Wendy further expanded her domestic U.S. marketing expertise at Capitol Music, where she led the charge in breaking Sam Smith to U.S. audiences. She also made significant strides at Interscope Records before moving to Roc Nation as Head of Marketing, driving impactful campaigns for JAY-Z, Rihanna, and Jaden Smith.

By 2018, Ong shifted to artist management at TaP Music, discovering it was a better fit for her values. “I’ve always been artist-first,” she explains. This focus is not always a priority elsewhere in the music industry. “Many prioritise business profitability,” she adds, “especially with the need to answer to shareholders.” For Ong, this approach is ideal. “[This is] why I got into the business in the first place.”

Ong also plays a major role in Gold House, a community of Asian Pacific entrepreneurs, creatives and other leaders, where she is a judge on its Music Accelerator programme that provides platform promotion, mentorship, and masterclasses for three emerging music artists.

Alongside other industry leaders, she is working to secure greater recognition for Asian talent at major institutions like the Grammys. She sees potential in new Grammy categories specifically for Asian musicians, which could broaden the stage for their work. She emphasises that recognition requires active representation within the Recording Academy. “Asian artists need to be a member of the Recording Academy, and that’s not bound geographically,” she explains, noting that this inclusive policy is essential for broadening the reach of Asian voices in the industry.

Her accolades are numerous and include: Billboard’s 2022 Women in Music: Top Executives; AdAge AAPI Creative Excellence Award, 2021; Goldhouse A100 List, 2021; Rolling Stone’s Future 25 in Music, 2020; Variety’s Power of Women in Music, 2020; and Variety’s L.A. Women’s Impact Report, 2020.