Inside EG Management and Intertwine Records.
By Eshy Gazit
When I left BTS in 2018, I left with a new mission: to expand the growth of music from Korea, from Asia, and from all over the world — not for one band this time, but for as many artists as I could help carry across. That mission became two companies: EG Management and Intertwine Records.
This is how I think about the work, and why I built it the way I did.
Why a company, and not just a phone
After BTS, I could have stayed a hired gun — the person you call when you have an Asian act and an American wall in front of it. But a hired gun breaks one act and rides on to the next town, and the wall goes right back up. I wanted to build the thing that breaks artists and keeps breaking them: a standing operation, with offices where the work actually happens — New York, Los Angeles, and Seoul.
The 360-degree approach
I started my life in music as a bass player. The bass sits exactly in the middle — one foot in the rhythm, one foot in the harmony — making two things into one song. That's how I manage. A 360-degree manager doesn't hand off the pieces to strangers; you hold the records, the press, the radio, the collaborations, the touring, the brand, and the relationships on two continents, and you make them play as one thing instead of five departments pointing in different directions. That's why the management company and the label live under the same roof.
The roster
The first artists I built EG Management and Intertwine Records around were Monsta X and Wonho — world-class Korean artists crossing into English-language records and the American market. But the roster grew on purpose: IVE, KiiiKiii, DaYoung, Paul Kim, and more, across genres and generations. The point was never to repeat one lightning strike. It was to prove the bridge works again and again, for many kinds of artists and many kinds of music.
A record of crossing the divide
Over the years that conviction has shown up on records — "Mic Drop," "Waste It on Me," "Who Do You Love," "Magnetic" — and in milestones I'm proud of: Monsta X as the first K-pop act to perform at the iHeartRadio Music Festival and on the Jingle Ball Tour, two sold-out world tours, a Billboard 200 top-five debut, and Wonho's solo launch and 2026 Asia Star Entertainer Award. Different artists, same idea: a hand reaching across the same divide.
Steel under the bridge
In 2019, I became a partner at Maverick Management, under the Live Nation umbrella. For most of the BTS years I was, functionally, a one-person operation backed by belief and a phone. Maverick is a machine — infrastructure, relationships, reach. Standing inside that machine means the artists I work with get the weight of an institution behind the conviction of an individual. That combination is rare, and it's exactly what I went looking for.
The mission, still
Two-time Billboard International Power Player recognition meant something to me — not as a trophy, but as evidence that chasing the mission instead of the money was the right call all along. Because underneath the companies and the roster, the work is the same sentence it's always been: connecting people through music, so that something like peace is possible.
That's what EG Management and Intertwine Records are for. The bridge became a business — and the business never forgets why it exists.
Eshy Gazit is the founder of EG Management and Intertwine Records and a partner at Maverick Management (Live Nation). A 2× Billboard International Power Player, he served as the U.S. managing partner for BTS (2016–2018) and manages Monsta X, Wonho, IVE, KiiiKiii, DaYoung, and Paul Kim.
How I broke BTS in the U.S. — The strategy behind the breakthrough.
Reading the battlefield, the press-radio-TV ground game, the AMA pinnacle, and the conviction underneath it all.
My work with BTS — Part 1: TV.
Three major TV bookings in one week, an AMA performance for the ages, and the call from Korea that almost stopped it all.