Jon Muq’s Masters Carried Easy Eye Sound for Three Years. His New Single Credits Shake It Africa, a Label He Co-Founded With His Manager.

A phonogram credit changed on Jon Muq’s newest release, and that one line is the whole story. “Shake Shake Dance for Me,” out 27 August 2026, carries the notice “℗ 2026 Shake It Africa.” Every Jon Muq release before it, going back to September 2023, carries some form of “℗ [year] Easy Eye Sound, A Concord Label Group Release.” Shake It Africa is a label Muq co-founded this year with his manager, Kevin Wommack. The master recording of his new single now sits with a company Muq has an ownership stake in, rather than with the label that put out his first three years of music.

What actually changed hands, in order

Apple’s own catalogue metadata dates the shift release by release. The Runaway EP, from 5 September 2023, carries “℗ 2023 Easy Eye Sound®, A Concord Label Group Release.” The Flying Away album, 31 May 2024, carries the same line for 2024. Two further singles, Hear My Voice (28 March 2025) and Secret Island (10 September 2025), both read “℗ 2025 Easy Eye Sound, A Concord Label Group Release.” Deezer’s catalogue corroborates this independently: it lists the label on Flying Away as Easy Eye Sound, with UPC 888072575370, and MusicBrainz’s release data adds a catalogue number, EES-034, tying that album to Easy Eye Sound’s own numbering system rather than a distributor’s. Every one of those four releases, spanning two and a half years, is unambiguously an Easy Eye Sound release.

“Shake Shake Dance for Me” breaks that pattern in two ways at once. The phonogram credit drops Easy Eye Sound and Concord Label Group entirely and reads Shake It Africa. And Apple’s genre tag for the release, Afrobeats, is new: every prior Jon Muq release on the platform was tagged Singer/Songwriter. Deezer’s listing for the new single gives it a different UPC, 859743210401, and a release date matching Apple’s, 27 August 2026, with the label field also reading Shake It Africa. Two independent catalogue databases agree on both the new corporate credit and the new release identifiers.

Two names on the label, not one

Shake It Africa’s own site states plainly who founded it: “founded by Ugandan musician Jon Muq and music manager Kevin Wommack.” That is not press description, it is the label’s own language about itself. Wommack’s existing company, Traffic Music Group, based in Austin, Texas, confirms the same structure from its side and adds detail Shake It Africa’s own site does not: its team page lists Wommack as “Chief instigator” of a group that “operates Loophole Management, Traffic Publishing, Shake It Africa, and Playing In Traffic Records,” and it lists Muq separately as “Co-Founder, Producer, and A&R of Shake It Africa.” Read together, the two sites describe the same company two different ways. Shake It Africa presents itself as a joint founding between an artist and his manager. Traffic Music Group presents Shake It Africa as one of four labels and management arms it operates, alongside the artist-management business that has represented Muq since before his Easy Eye Sound years.

Neither site discloses an ownership percentage for either founder, and no corporate registry record for Shake It Africa turned up in a search of SEC EDGAR’s full-text filings or in a Texas business-entity search on OpenCorporates, which returned an access error rather than a result. That is not evidence the entity is unregistered, a great deal of small US label activity sits inside an LLC that never touches a public filing database, but it does mean the equity split between Muq and Wommack, and the precise legal relationship between Shake It Africa and Traffic Music Group, cannot be confirmed from any document this record cites. Calling Shake It Africa “Jon Muq’s own label” states more independence than either primary source supports; calling it “Kevin Wommack’s label” understates Muq’s founder credit on Shake It Africa’s own site. The accurate description is a joint venture between an artist and the management company that already represented him.

A new recording, not a transferred one

“Shake Shake Dance for Me” is not simply the 2024 Flying Away track re-released under a new name. The title differs, the UPC differs, and the genre tag differs, which together indicate a new master recording rather than the same audio file moved to a new distributor. That distinction matters for anyone tracking who owns what: this record documents a new copyright created under Shake It Africa’s name in 2026, not a transfer of the 2023 to 2025 masters that still carry the Easy Eye Sound credit. Nothing in the sources checked for this piece states that those earlier masters have moved, been licensed back, or reverted to Muq. Easy Eye Sound’s own artist page continues to list Jon Muq among its roster with no departure notice, which is consistent with an artist recording new work for a second label while an existing catalogue relationship with the first continues unresolved in public, or with a quiet lapse that neither side has announced. Both readings are possible from what is publicly documented; only one of them can be true, and this record does not have the evidence to say which.

What this means for artists

The mechanism here is available to any artist with enough leverage to negotiate it, and it is becoming a common second act after a first label or distribution deal: found a company, sometimes jointly with the manager who already takes a percentage, and route new recordings through it while an earlier catalogue stays where it is. The phonogram credit on a release page is a real, checkable signal of that shift, and it usually moves before any press release does. An artist or a manager reading this deal should take two things from it. First, a founder credit on a label’s own website is not the same as a majority ownership stake, and a manager co-founding a label with an artist changes the manager’s incentives in ways a standard management agreement does not anticipate; that relationship is worth naming precisely in any paperwork between the two of you rather than leaving it as an informal understanding. Second, launching a new label does not by itself resolve what happens to recordings already out under a previous deal. If Jon Muq’s Easy Eye Sound catalogue reverts, gets licensed, or stays exactly where it is, that will show up in a future phonogram credit or a future filing, not in a label-launch announcement, and it is worth an artist in a similar position getting that specific term in writing before treating a new label as a clean break from the old one.

Limits of this record: the phonogram-credit and catalogue-metadata evidence for the shift from Easy Eye Sound to Shake It Africa on the new single is independently confirmed across Apple’s and Deezer’s catalogue databases and is not in dispute. What is not established: any financial terms of the arrangement between Muq and Wommack or between Shake It Africa and Traffic Music Group; the ownership percentage each founder holds in Shake It Africa; whether Muq’s recording agreement with Easy Eye Sound has ended, lapsed, or continues alongside the new label; and whether Shake It Africa is registered as a distinct legal entity, since neither SEC EDGAR nor an OpenCorporates search returned a filing. No party named in this record was reached directly for comment before publication.