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Music industry executive and consultant Damien “DDOT” Washington, a former executive at EVEN Labs, speaks exclusively with World Music Views (WMV) about technology’s role in music, artist empowerment, and the controversy surrounding the direct-to-fan platform EVEN which just announced a new multi-year agreement with Universal Music Group (UMG).
What EVEN Is — and What It Isn’t
D-Dot described EVEN as a direct-to-consumer superfan app designed to give artists financial control before their music hits major streaming platforms.
“EVEN is a direct-to-consumer superfan app that enables artists to do pre-release campaigns prior to delivering their music to DSPs such as Spotify, YouTube, and Apple Music.”
He emphasized that the platform is not meant to replace streaming services but to complement them.
“EVEN is not designed to undercut those platforms… it’s more designed to supplement for artists who maybe their reach doesn’t quite quantify on streaming platforms, but they still have a really solid, intense fan base.”
Through EVEN, artists can set their own prices for exclusive content and receive payments directly from fans while building deeper engagement with their core supporters.
His Role in Launching the Platform
While association with EVEN is public, D-Dot clarified he was not a founder.
“I was not a founder… I was one of the first maybe 10 or 12 employees.”
He said he joined as a brand ambassador after being introduced by French Montana’s team in early 2023. The company was founded by Enrique “Mag” Rodriguez and Alvaro Ramirez, both from tech backgrounds.
D-Dot described the platform as sitting at the crossroads of music and technology:
“It’s music focus with tech infrastructure.”
Why Major Labels Are Paying Attention
He explained why Universal Music Group would be interested in a superfan platform by pointing to a broader industry shift toward direct fan monetization, noting that UMG CEO Lucian Grainge has been pushing deeper into that space. He cited acquisitions like Stationhead and exclusive merchandise storefronts as evidence that labels are investing heavily in superfan engagement.
Just days before EVEN made their agreement with UMG, D.Dot filed a lawsuit. Prior to his lawsuit, Babygrande Records sued Even in the Southern District Of New York— not him personally. Then he was later added as a co-defendant.
“I was randomly added to the lawsuit… specifically because I have the biggest industry name.”
According to documents obtained by World Music Views, in that claim by Babygrande, on Friday February 20, 2026 a federal judge ordered that a previously scheduled forensic search of Washington’s electronic devices will proceed as planned on February 25, 2026, in White Plains, New York, despite a pending petition before the Second Circuit. The Court directed Washington to personally appear with both the cell phone and laptop in question, warning that failure to do so could result in contempt.
He must also confirm travel arrangements with EVEN’s defendants by February 22, with the company either booking travel directly or reimbursing him upon receipt rather than providing upfront funds. Because Babygrande’s counsel will be in another trial, the Court postponed discussion of disputed call recordings and related discovery issues, scheduling a separate remote conference for March 11, 2026, while instructing Babygrande to file any responses by March 9. The judge also formally denied an extension request and closed that motion.
In Washington’s claimed filed on February 16, 2026, in the U.S. District Court for the Southern District of New York, Washington accuses the EVEN music platform and its CEO, Enrique “Mag” Rodriguez, of discrimination, retaliation, labor violations, and wrongful termination. The complaint alleges Washington “was discriminated against on the basis of his race and gender” and “deliberately misclassified as an independent contractor” despite working full time, which he says deprived him of overtime pay, benefits, and legal protections. It further claims the company retaliated after he raised concerns about allegedly unlawful conduct, asserting that he was stripped of duties, denied compensation, and ultimately fired.
Washington contends the company maintained “an unlawful pattern and practice of misclassifying” him to reduce costs and obligations, while he suffered financial losses and reputational harm as a result. He is seeking damages for lost wages, unpaid compensation, emotional distress, and other relief under federal and New York law. He alleges that EVEN then attempted to shift liability onto him, despite his role as an employee rather than an executive decision-maker.
“I do not own EVEN. I’m not the CEO… for me to have to be in a lawsuit and being ostracized… that’s just not right.”
Without financial resources for legal representation, he says he is currently defending himself while pursuing his own lawsuit against the company.
Why Artists Still Need Streaming Platforms
Despite promoting direct-to-fan models, D-Dot made it clear that platforms like EVEN cannot replace Spotify or Apple Music.
He compared the concept to a pregame before going out:
“EVEN is your pregame before you go to the club.”
Direct sales, he explained, can generate far more revenue quickly. For example, selling albums directly to a small number of fans at higher prices can outperform massive streaming numbers.
He also encouraged artists to explore other platforms in the same space, including OpenWave, Untitled, and Vault FM.
Consulting Work Across Entertainment
Beyond EVEN, D-Dot described his career as a consultant spanning contracts, negotiations, artist development, and even film projects. He previously served as a music supervisor consultant on an independent film presented at the Tribeca Film Festival.
His work also includes advising artists who cannot afford attorneys and connecting creatives with industry professionals.
“I’m always going to be seeking the truth to have its day… justice and equality to have its day.”
When asked about tech’s role in advancing Caribbean music, D-Dot stressed the importance of staying informed and adaptable.
“My people are destroyed for a lack of knowledge.”
He warned artists not to fear tools like artificial intelligence but to learn how to use them effectively.
“The world is changing… don’t be ignorant to new opportunities or resources.”
D-Dot’s strongest message was about self-worth and courage in the face of industry pressure.
“Know your worth and add tax. Don’t be afraid to rock the boat.”
He rejected the notion that speaking up will inevitably lead to blacklisting, sharing a quote from an artist who encouraged him:
“Oppression thrives in the silence of the oppressed.”
English (US) ·