Senior Data Engineer - Enterprise Data Products
About the job
- 5–8 years of experience in data engineering or related roles.
- Strong experience building data pipelines, data models, and data platforms.
- Proven experience handling ecommerce data at scale, including orders, carts, customers, product/catalog, inventory, fulfillment, payments, refunds/returns, promotions/discounts, subscriptions, web/app clickstream, and marketing attribution.
- Familiarity with AI/ML data requirements, including preparing datasets for model training and analytics.
- Hands-on experience working with or contributing to semantic layers such as dbt or LookML.
- Solid understanding of data warehousing, dimensional modeling, and modern data architectures.
- Experience with cloud platforms such as AWS, Azure, or GCP and tools like Spark, Snowflake, Databricks, or similar.
- Strong SQL skills and proficiency in Python or a similar language.
- Experience working with columnar databases or columnar storage formats such as BigQuery, Redshift, Snowflake, or Parquet, and optimizing query performance.
- Experience implementing data quality checks and monitoring.
- Ability to work cross-functionally and translate requirements into technical solutions.
- Design and build scalable data pipelines and data products that support analytics and AI/ML use cases.
- Build and scale ecommerce data products and pipelines, with particular focus on Shopify data such as orders, customers, products, transactions, fulfillment, and marketing events.
- Develop and maintain AI-ready datasets, ensuring high quality, consistency, and usability for downstream applications.
- Work with data scientists and analysts to support feature engineering, model training data, and experimentation needs.
- Contribute to building and maintaining semantic layers that standardize business definitions and enable consistent reporting and analysis.
- Implement data validation, testing, and monitoring to ensure data quality and reliability.
- Build and optimize data models, including dimensional and curated layers, aligned with business requirements.
- Optimize data storage and query performance by leveraging columnar data structures and databases where applicable.
- Support batch and real-time data pipelines using modern data stack tools.
- Follow best practices for code quality, version control, and CI/CD in data engineering workflows.
- Collaborate with product, analytics, and governance teams to ensure data is well-documented, discoverable, and trusted.
- Troubleshoot and resolve data issues, ensuring minimal disruption to downstream users.
- Lead teams of data engineers responsible for building and operating domain-specific data products, semantic layers, and data marts.
- Experience working with Shopify data, including Shopify orders, customers, products, and fulfillment schemas.
- Experience handling Shopify data and ecommerce datasets, including ingesting, modeling, validating, and reconciling commerce data across platforms.
- Preferred candidate location is Philadelphia, Pennsylvania.
About the company
Universal Music Group manages the recording, publishing, and distribution of music for a global roster of artists. The company works by signing musicians to contracts, producing their albums, and making their work available through streaming services, physical sales, and licensing for film and television. Unlike many competitors, it operates a massive, integrated network across 60 countries that combines traditional label services with merchandising and brand partnerships. Its goal is to maximize the commercial reach and value of its artists' music through a diverse range of global revenue streams.
Company Size
10,001+
Company Stage
IPO
Headquarters
Santa Monica, California
Founded
1934
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Simplify's Take
What believers are saying
- H1 2026 revenue reached €6.194 billion, up 10.8% constant currency.
- Streaming 2.0 pricing and Downtown boosted recorded music and publishing growth.
- Libby Bush's Sept. 29, 2026 partnerships role expands branded merchandise and live activations.
What critics are saying
- UMG sued DistroKid on Sept. 15, 2026 over AI slop and copyright infringement.
- Tidal, Spotify, and Apple Music tagging AI tracks normalize low-value catalog flooding.
- Unchecked AI flood collapses royalty pools and artist trust within 24 months.
What makes Universal Music Group unique
- UMG controls elite catalogs across recorded music, publishing, merchandising, and audiovisual content.
- Oct. 1, 2026: Frank Briegmann's expanded remit links Europe, ANZ, Canada, and Deutsche Grammophon.
- Sep. 28, 2026: Òscar Celma deepens UMG's AI discovery and personalization capabilities.
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Benefits
Competitive Salary
401k
Flexible PTO
Medical, dental, visiion insurance
Student Loan Repayment Assistance & Tuition Reimbursement
Well-Being Allowance
Growth & Insights and Company News
6 month growth
21%1 year growth
21%2 year growth
21%The Game sues UMG for $500K over alleged marketing failure. * Mac Dee *. Oct 3, 2026 * 14.534 Views West Coast rapper The Game sues UMG and Virgin Music Group for $500,000 following a breach of contract dispute over the promotion of his 2022 album, "Drillmatic - Heart vs. Mind." According to court documents filed by the hip-hop veteran's record label, 100 Entertainment, major music conglomerates Universal Music Group (UMG) and Virgin Music Group failed to properly distribute the agreed-upon promotional budget, resulting in lower sales revenues and lost streaming royalties. Allegations of unspent funds and zero radio budget. The lawsuit, initially reported by Billboard, was submitted to court on September 30 by attorney Michael Trauben on behalf of 100 Entertainment. The suit alleges that UMG and Virgin Music were required to administer a $500,000 recoupable marketing budget dedicated to the release cycle of "Drillmatic." However, legal filings claim the labels spent only $179,000 - roughly one-third of the committed funds. The lawsuit highlights major operational oversights, including: - Neglected Digital Marketing: Failing to execute planned digital campaigns during critical launch weeks. - No Radio Promotion: Supplying zero financial support toward getting singles onto radio airwaves. - Out-of-Pocket Expenses: Forcing 100 Entertainment to pay out-of-pocket for key campaign assets, including the music video for the Big Sean-assisted single "Stupid." "Deprived of nearly two-thirds of its bargained-for promotional support during the critical release cycle, the album did not perform as it would have had Defendants administered the marketing and promotion fund as the parties approved," Trauben stated in the official court complaint. UMG denies allegations as 100 Entertainment seeks damages. In prior legal correspondences sent to 100 Entertainment before the formal court filing, UMG and Virgin Music Group denied any breach of contract. 100 Entertainment maintains that the music giant has yet to reimburse the label for the out-of-pocket marketing expenses incurred to keep the release rollout on track. The lawsuit seeks damages to compensate for lost royalties, streaming income, and overall sales revenue, with the exact monetary total to be determined at trial. The impact on "drillmatic" Released on August 12, 2022, "Drillmatic - Heart vs. Mind" marked a major milestone in The Game's discography. The massive 30-track project featured high-profile guest appearances from top-tier hip-hop artists, including Lil Wayne, Kanye West, Rick Ross, Chris Brown, Meek Mill, A$AP Rocky, and Roddy Ricch. Despite the star-studded features, the album's commercial potential was severely undermined by the alleged lack of label support - a issue at the heart of the ongoing lawsuit. Rate This Post Average: 4.1/5 | Total Votes: 125
Bill Withers' publishers sue Universal over Olivia Dean song. The publishers of Bill Withers' back catalogue have filed a copyright claim in California alleging that the British singer Olivia Dean's song I've Seen It copies the melody of the late soul singer's 1981 hit Just The Two of Us. The complaint, filed yesterday by Mattie Music Group, names Dean's record label Capitol Records, its parent company Universal Music Group and her publishing companies as defendants. It does not seek damages from Dean herself or from her co-writers, Bastian Langebæk and Max Wolfgang. The publishing companies named include Sony Music Publishing and Kobalt, which publishes Wolfgang, according to Billboard, which first reported the lawsuit. Free newsletters The stories that matter to UK business, straight to your inbox. I've Seen It appears on The Art of Loving, Dean's Brit Award-winning 2025 album. Just The Two of Us, released by Grover Washington Jr with Withers, reached number two on the Billboard Hot 100. In legal documents seen by the BBC, Mattie Music Group, which looks after Withers' back catalogue, alleges that the musical features the two songs have in common are "so striking" that they cannot have arisen by coincidence alone. The publisher said it had hired a musicologist to review the two songs. He concluded "that the works contain substantial similarities", including the "repeated copying" of the melody from Just The Two of Us, according to the documents. The allegations have not been tested in court. Representatives for Universal Music Group, Sony and Dean did not immediately respond to Billboard's requests for comment, and a Kobalt representative declined to comment. Kirsten Gilbert, partner and head of brand exploitation, protection and trade mark litigation UK at the intellectual property law firm Marks & Clerk, said the case was likely to reopen the question of how far similarities between songs amount to infringement. "Another major pop artist accused of copyright infringement of another song," she said. "In this case an Olivia Dean song has allegedly repeatedly copied the melody from 'Just the Two of Us' by Bill Withers. Whether it has copied the melody or not will be a question for music specialists to determine. "What is likely to come up again is the extent to which similarities between songs should be considered copyright infringement." Gilbert said the debate had been running since Ed Sheeran publicly criticised what he described as baseless claims, in circumstances where, in the singer's words, there are "only so many notes and very few chords used in pop music...coincidences are bound to happen". Business Matters reported in September 2022 that Sheeran was facing a second copyright lawsuit, over his song Thinking Out Loud, six months after he was cleared of copying in a case over Shape of You. Gilbert said the sums involved, with royalties for songs such as Dean's potentially running into the millions, meant "it could be the case that claims are brought on the basis that a settlement will be reached as neither party actually wants to fight the matter in court". "Ed Sheeran took a stand and was successful in defending claims brought both in the US and UK," she said. "It will be interesting to see how Olivia Dean's legal team approach this claim." Amy Ingham. Amy Ingham is a reporter at Business Matters, covering UK business news with a focus on breaking news, business policy, late payments and insolvency. She joined the magazine in 2026 after completing the NCTJ Diploma in Journalism at Harlow College's journalism school. Her recent reporting includes British Steel's nationalisation and its impact on SME suppliers, the decline in late payments by large firms, and Insolvency Service director disqualifications. Reach her at [email protected].
Frank Briegmann promoted to Chairman & CEO of Universal Music Europe, Australia, New Zealand, Canada & Deutsche Grammophon. Oct 01, 2026, 10:00 ET Proven artist champion combining creative leadership, commercial expertise, and a deep commitment to local culture New structure will increase agility and create bigger impact for local, regional and global stars SANTA MONICA, Calif. and BERLIN, Oct. 1, 2026 /PRNewswire/ - Universal Music Group, the world's leading music entertainment business, today announced the promotion of Frank Briegmann to Chairman & CEO, Universal Music Europe, Australia, New Zealand, Canada & Deutsche Grammophon. This move brings unified leadership to a diverse group of territories, each with its own rich mix of cultures but sharing enormous potential to develop local talent into regional and global stars. Briegmann will continue to report to Sir Lucian Grainge, Chairman & CEO of Universal Music Group. Today, artists have the potential to reach audiences around the world from day one. Briegmann has a proven track record of helping them realize that potential, working with leaders across territories to build strong local teams, nurture distinctive music cultures, and develop homegrown talent for success at home, regionally, and globally. Throughout his career, he has also opened up new commercial and creative opportunities for artists, including reimagining Deutsche Grammophon for the modern era. The new structure is designed to create more opportunities for artists across borders by increasing agility and enabling closer collaboration. In a rapidly evolving music ecosystem, Briegmann's wider remit will help UMG anticipate and embrace change, using technology to amplify expertise, sharpen execution, and bring markets closer together. Sir Lucian Grainge, Chairman & CEO, Universal Music Group said "Frank and I have worked together for more than 20 years, and he's a fierce artist champion with a proven track record of building long-term careers. He combines creative expertise with business acumen and the insights of data and technology. Just as importantly, he respects what makes every market different and knows how to give great local leaders the freedom and support to succeed. Frank's promotion is all about the power of possibility; making it easier for artists, ideas, and opportunities to travel across borders." Frank Briegmann said "Great artists can emerge anywhere, and today they can find an audience almost everywhere. That makes strong local expertise more important. Our responsibility is to understand and nurture what makes each market dynamic and distinctive, while giving artists the investment, local expertise, and global reach to realize their full potential. I'm grateful to Lucian for his trust and this new opportunity to take on this broader responsibility. Over the years, I have seen what becomes possible when great local teams work closely together across borders. I look forward to building on that experience with this exceptional group of leaders and creating even more opportunities for artists throughout these markets and around the world." Briegmann will work closely with the established leadership in each market, including Olivier Nusse who continues as CEO, Universal Music France; Sean Warner who continues as President & CEO, Universal Music Australia & New Zealand; and Julie Adam who continues as President & CEO, Universal Music Canada. As part of his expanded role, Briegmann will also work with UMG's leadership in Europe, including the U.K. and Iberia, to create stronger connections across markets through technology, data and commerce. Spain will continue to be led by Luis Fernández, President, Universal Music Spain, and Portugal will continue to be led by Ana Hernandez, Managing Director, Portugal, both reporting to Jesus Lopez. The United Kingdom will continue to be led by Dickon Stainer, Chairman & CEO, UK, reporting to Sir Lucian Grainge. Frank Briegmann The appointment marks the latest step in Briegmann's more than three-decade career in the music industry and expands his international responsibilities. Briegmann joined Universal Music in 2004 as CEO of its German business, becoming the youngest executive ever to lead a major music company in Germany. His responsibilities have since expanded across Central, Northern and Eastern Europe, alongside his global leadership of Deutsche Grammophon. Throughout his career, Briegmann has championed local talent and distinctive music cultures, investing in artists and repertoire while helping them reach audiences far beyond their home markets. He has driven digital transformation and built new areas of business, combining strong local expertise with UMG's global reach. At Deutsche Grammophon, he has applied the same approach, combining the stewardship of the world's most renowned classical label with innovation in formats and audience development. Briegmann is a board member of the Federal Association of the Music Industry. He also serves on Deutsche Bank's Eastern Regional Advisory Board, as well as on the boards of trustees of the renowned C/O Berlin Foundation and the German Sports Aid Foundation (Stiftung Deutsche Sporthilfe). About Universal Music Group At Universal Music Group, we exist to shape culture through the power of artistry. UMG is the world leader in music-based entertainment, with a broad array of businesses engaged in recorded music, music publishing, merchandising, and audiovisual content. Featuring the most comprehensive catalogue of recordings and songs across every musical genre, UMG identifies and develops artists and produces and distributes the most critically acclaimed and commercially successful music in the world. Committed to artistry, innovation, and entrepreneurship, UMG fosters the development of services, platforms, and business models in order to broaden artistic and commercial opportunities for our artists and create new experiences for fans. For more information, visit www.universalmusic.com.
Red Light Management and The Very Good launch Red Light Management Scandinavia. 30 September 2026 Red Light Management and Swedish company The Very Good have launched a joint venture, Red Light Management Scandinavia. The new company will be based in Stockholm, Sweden. It will be headed by Red Light Management UK founder James Sandom and The Very Good founder and CEO Jakob Emtestam. Red Light Management Scandinavia is, the company says, the first international artist management company to enter the Scandinavian market. The company says its roster includes Swedish Grammy-nominated artists such as Olga Myko, Sunnan, and Augustine. Olga Myko is signed to Atlantic Records UK. The team brings together former TEN Music Group head of A&R Ali Vedadi and former Universal Sweden Senior Marketing Manager Love Appelgren with The Very Good's GM Manne Björkman and Emtestam. "Today's industry demands more from managers than ever before." Jakob Emtestam, The Very Good They will work with Sandom and his London-based team, including Danish artist and producer manager Alexandra Mills and Red Light UK managing director Lisa Ward, as well as the global Red Light Management network. "Scandinavia has over-indexed creatively for decades, and we see a clear opportunity to strengthen the region's management community," said James Sandom, Red Light Management. "Live, publishing and recorded music companies already have established structures, but artist management has not developed in the same way until now. "We want to build an ecosystem that supports patient artist development and creates bridges for Scandinavian artists to export internationally wherever possible." "Scandinavia has over-indexed creatively for decades, and we see a clear opportunity to strengthen the region's management community." James Sandom, Red Light Management "Partnering with Red Light Management to establish this hub allows us to bring international expertise and much-needed stability to the Scandinavian management scene," said Jakob Emtestam, founder and CEO of The Very Good. "Today's industry demands more from managers than ever before. "By fostering collaboration and knowledge-sharing over working in silos, we are creating a foundation essential for building and sustaining long-term careers..." Ali Vedadi was named lead A&R at TEN Music Group's streaming imprint Tenacity in 2017, as previously reported by MBW. Lisa Ward joined Red Light Management in London in 2016, after a decade at Universal Music Group. Red Light Management's roster has included Grammy winners such as Chris Stapleton and Alabama Shakes. Coran Capshaw founded Red Light Management in 1991 in Charlottesville, Virginia, and the company describes itself as the largest independent music management company in the world. Its UK operation launched in 2012, with a roster that has since included Kaiser Chiefs, The Vaccines, and Bastille. In 2022, Firebird Music Holdings acquired a minority stake in Red Light, with Capshaw continuing to lead the company. Red Light has continued to expand in recent years, forming a strategic alliance with Warner Music in Japan in 2024 and striking a partnership with Ledgin Management last year.Music Business Worldwide
Universal Music Group appoints Libby Bush as President, Global Brands and Commercial Partnerships. Sep 29, 2026, 10:00 ET Entrepreneur and CAA Global Head of Entertainment Partnerships to drive growth for artists and brands and create new experiences for fans across digital platforms, physical products, and live experiences Newly created role further expands UMG's capabilities to accelerate innovation and create new possibilities for artists and songwriters SANTA MONICA, Calif., Sept. 29, 2026 /PRNewswire/ - Universal Music Group (UMG), the world leader in music-based entertainment, today announced the appointment of Libby Bush to the newly created role of President, Global Brands and Commercial Partnerships, starting in November. Bush will lead a new global function that brings together UMG's brands, media, and commercial partnership businesses, including Universal Music Group for Brands (UMGB). Based in Los Angeles, Bush will report to UMG's Chief Operating Officer Boyd Muir. Great artists create worlds around their music, attracting fans and inspiring loyalty. Today, those worlds reach well beyond recorded music, into original content, live experiences, products and new ventures, and the world's leading brands and platforms want to be a part of them. Bush will draw together the expertise and relationships across UMG's labels and businesses to make ambitious collaborations easier to develop and deliver worldwide. Spanning digital platforms, physical products and live experiences, these collaborations will be rooted in artists' originality and authentic connections with fans. Bush joins UMG from Creative Artists Agency (CAA), where she served as Global Head of Entertainment Partnerships and was a member of the Agency Board. She founded and built CAA's Entertainment Partnerships division, establishing it as a leading business connecting entertainment, brands and media. She brings more than two decades of experience driving growth and cultivating relationships at the highest levels of the industry. Bush said, "Music has never been more central to culture, and what artists can build around it has never been bigger. Today's artists are storytellers, founders, and brands in their own right. UMG has the greatest artists and songwriters in the world, extraordinary label teams, and incredible global reach. I am excited to bring those strengths together to give artists even more ways to reach fans and build lasting businesses, and to give brands a meaningful role in something people love. I look forward to working with Boyd, our leadership and teams around the world on collaborations that artists are proud of and fans want to be part of." Muir said, "As the ways fans experience music evolve, the opportunities for our artists multiply. Bringing our brand, media, and commercial partnerships together under Libby's leadership will help extend our artists' reach and grow their revenues, while giving our partners new ways to build relationships with fans and collaborate with the world's most influential voices. Libby brings exceptional creative and commercial expertise to the world's leading music company. She'll work with our talent, teams, and partners to create memorable experiences for fans, lasting value for brands, and new possibilities for artists." Before CAA, Bush founded Tandem Entertainment, an entertainment partnerships agency acquired by CAA in 2020. Previously, she led impactful global brand partnerships at Marvel Entertainment, delivering partnerships and co-marketing across the Marvel Cinematic Universe, and held roles at ABC Entertainment, the WNBA's Los Angeles Sparks and the National Basketball Association. Across her 20+ year career, Bush has developed and negotiated innovative partnerships involving leading brands, talent, producers, studios and platforms. She currently serves on the Board of Directors of Turtle Beach Corporation and was named one of Ad Age's Leading Women in 2025. Bush's appointment is the latest in a series of moves to strengthen UMG's central operations under Boyd Muir's leadership, including the appointments of Tseyin Foo as President, Global Supply Chain, and Hannah Poferl as Chief Data Officer. Together, these appointments strengthen the specialist support UMG provides to its labels and teams to drive innovation, develop artists, and grow revenues worldwide. About Universal Music Group At Universal Music Group, we exist to shape culture through the power of artistry. UMG is the world leader in music-based entertainment, with a broad array of businesses engaged in recorded music, music publishing, merchandising and audiovisual content. Featuring the most comprehensive catalogue of recordings and songs across every musical genre, UMG identifies and develops artists and produces and distributes the most critically acclaimed and commercially successful music in the world. Committed to artistry, innovation and entrepreneurship, UMG fosters the development of services, platforms and business models in order to broaden artistic and commercial opportunities for our artists and create new experiences for fans. For more information, visit www.universalmusic.com. SOURCE Universal Music Group