CHARISSE BEAUMONT
CEO, Black Lives In Music 

Congratulations on your Women In Music Awards win this year. What kind of legacy are Black Lives In Music creating?

“One of tangible change in the music industry. Our hope is that everything we do will pave the way for future generations of musicians, artists, and industry professionals to thrive – whether they experience the freedom and safety of a reimagined industry or build upon the legacy we leave behind, just as we did with those who came before us.”

What issue frustrated you most about the music industry in 2024?

“There’s been a noticeable shift away from the urgency of addressing discrimination – a perception that racism has been ‘dealt with’, that the George Floyd tragedy was a momentary issue now deemed outdated. But this is not a fleeting trend to move on from. Discrimination continues to affect thousands of people. Black and Global Majority musicians and industry professionals, including those at the intersections of various identities, still face significant barriers. Even those who manage to break through find obstacles at every stage. Black women, in particular, are disproportionately affected, are the first to face job losses, glass ceilings, and stagnation in their careers. On top of this, many people continue to endure direct racism from colleagues, bullying, and even sexual harassment. These are not isolated problems; they reveal systemic failings that the industry cannot ignore. I would like to shout out organisations such as the Royal Albert Hall for setting the gold standard and bringing the change we all want to see. As a result, they are reaping the benefits culturally and financially.”

What was your track of 2024?

“Not Like Us by Kendrick Lamar. He is a true artist in every way.”

HANNAH NEAVES
President, UMR 

UMR won at the Music Week Awards for the Beatles campaign. Why do you think you’ve had so much success at the event in recent years?

“We have the best artists and the best team!” 

There are so many catalogue campaigns across the industry now, but is the business doing all it can to maximise its catalogue?

“Speaking personally, we’re thinking more broadly and more globally than ever before about the commercial and cultural opportunities, but there’s always much more to do.”

What was your track of 2024?

“Girlband! – Not Like The Rest. They are an exhilarating female three-piece from Nottingham signed to Soul Kitchen/EMI North. They have so much energy, especially live, and this song would sound at home on a John Hughes soundtrack.”

And your favourite album?

“Aphex Twin’s Selected Ambient Works Volume II (Expanded Edition), in particular the song Rhubarb Orc 19.53 Rev. If you’re going to put a deep cut on a re-release, then make it as astounding as this one. Richard D James conducting an orchestra and choir remotely, it’s like a huge organic synth, reversed.” 

SHABS JOBANPUTRA
President, Relentless

Relentless hit a milestone 25th anniversary this year. What message does your longevity send to the industry?

“That believing in the artist, the team and what you do is still a big thing to carry on with. Believe in the principles of loving music, working with artists and finding a way to make things succeed.”

Name your biggest gripe of 2024?

“How tough it has become to get any share of voice, number one. And number two, I would say, how hard it is to close deals. Both are really tough – much tougher than it has been in the past.”

What was your favourite track of 2024?

“Doja Cat’s Paint The Town Red. It somehow managed to fuse a lot of style and use a sample brilliantly.”

ANNABELLA COLDRICK
CEO, MMF 

How have the recent shake-ups at majors and indies impacted managers?

“I’m hearing that the reductions in staff at labels is having a major impact. In general, it feels like there is a recalibration of the market going on, as management companies take on more of the service provision for their artists. As a result, management deals are evolving to better reflect the value that managers bring in.”

Is there a place for dynamic pricing in the UK?

“The most important thing is that pricing is transparent. Alongside a specific CMA investigation into how dynamic pricing was presented at the Oasis shows, we know the UK government is planning a call for evidence around the overall ticketing market – the government’s commitment to restrict exploitative secondary ticketing should help fans.” 

What was your favourite track and album of 2024?

“Friedberg’s Hardcore Workout Queen is a great track – I saw them at the Great Escape and the whole room was buzzing. I really like the album Madra by NewDad; there is so much great talent coming out of Ireland at the moment.”

TOM KIEHL
CEO, UK Music 

How are UK Music engaging with the new government on key issues for music so far?

“From DCMS secretary Lisa Nandy DJing at UK Music’s Labour conference party to culture minister Sir Chris Bryant quoting opera Peter Grimes at our summer party, we are developing a strong relationship with the new government. Their tone on key issues, in particular addressing problems for touring musicians in the EU and improving opportunities for talent development through music education, has been very positive. The challenge is now turning these warm words into action. On the crucial issue of artificial intelligence, we urgently need the government to commit to strong safeguards to protect our world-leading creators and companies.”

Dynamic pricing was discussed publicly by government ministers. Do you expect ticketing to be reformed?

“The government has been elected on a manifesto that contained commitments for new consumer protections on ticket resales. This is good news and mirrors recommendations by UK Music in its pre-election manifesto. I hope that this now brings about much needed reform to the secondary ticketing market, including the end to speculative selling by touts, and having a grown-up discussion about the merits of introducing a price cap on resale. While I do not expect the government to legislate against the practice of dynamic pricing, there appears to be a lot more that can be done to improve fans’ experiences.”

What was your track of 2024?

“I Like The Way You Kiss Me by Artemas.”

And your favourite album?

“Woof by Fat Dog – it did not disappoint.”

CAIUS PAWSON
FOUNDER, YOUNG 

Was Young’s ethos of giving artists space and time to create challenged by the changing nature of the industry and consumption habits in 2024?

“Technology progresses, culture shifts, but the artistic process is still a fundamentally emotional thing and can’t be rushed. With ever-mounting competing requests on our artists’ time, it’s more important than ever to carve out space to allow them to find themselves artistically.”

In light of the work you’ve done with Murmur this year, how do you feel the conversation around music, arts and the environment changed in 2024?

“With every passing day we’re becoming more fluent in climate. With every passing day the need for action on climate is getting more apparent. Change is inevitable in 2025!”

What was your favourite track and album of 2024?

“John Glacier’s track Money Shows. For album, Jamie XX – In Waves! Obviously.”

NEIL WARNOCK
Co-head/head of global touring, UTA 

What motivated you most about the live music sector in 2024? 

“What is so exciting is that the level of business achieved clearly is not slowing down in 2025 or 2026. This is such a healthy sign for the live sector in general.” 

How did the skills needed to be a successful agent evolve over the past 12 months?

“The skills of being an agent at any time are being able to recognise not only which venue or tour [route] is right for your artist on the next tour, but also having a vision for the future build of the artist’s live career.”

What was your album of the year? 

“David Gilmour’s Luck And Strange. Just such a personal feel from David, a tremendous feelgood factor.”

FLOWEROVLOVE
Artist 

You won the New Artist Award at WIM this year – how would you sum up the reality of life as a breaking act in 2024? 

“The reality is it’s super-hard and a lot of work, as well as fun. I’d rather be doing this than school, but the hardship is accepting failure and the idea that nothing will happen the way you picture it and it’s not an easy road. But the journey is the best part.”

Can you share the biggest lesson you learned about the industry this year?

“The biggest lesson I’ve learned is to just keep going, no matter what. Never stop.”

What was your track of 2024?

“Birds Of A Feather by Billie Eilish, just because it’s the greatest love song of our time.”

And your favourite album?

“The new MK.Gee – Two Star & The Dream Police. He’s changing music for us all right now. He is so special.”

SARAH SLATER
VP, music & festivals, Ticketmaster UK 

How would you assess festival season 2024?

“Busy! I love festival season, being on-site and collaborating with our incredible team to pull off these massive events that grow bigger every year. One day we’re in the idyllic Wyldes in Cornwall, and the next, we’re scanning in hundreds of thousands of fans at Reading & Leeds. Building such a large seasonal team has been a highlight of my time at Ticketmaster, and seeing many of them transition into full-time roles in the live industry has been the icing on the cake.”

What was your track of the year?

“Good Luck, Babe! by Chappell Roan. I defy anyone not to sing along. It’s also my son’s absolute favourite. Hearing him sing his little heart out to it in the car makes me so happy.” 

And your favourite album?

“The K’s – I Wonder If The World Knows. The album just makes me reminisce about dancing in fields with friends and colleagues.” 

BEN WYNTER
CEO, Unstoppable Music Group/Director of business development & partnerships, AIM

How much progress is the industry making with regional development?

“At AIM, we’ve recently announced the launch of a second regional base in Bristol, in partnership with The Bristol Beacon, building on the success of our partnership with Tileyard North. It’s encouraging to see the industry beginning to recognise the immense value in supporting talent across the regions and nations. While there’s been noticeable progress this year, there’s still a lot of work to be done.”

What was your track of 2024?

“It’s tough to pick just one, but for me the impact of Kendrick Lamar’s Not Like Us makes it almost undeniable as the song of the year. A close second has to be Usher’s Ruin.”

And your favourite album?

“J Cole’s Might Delete Later was a highlight, and I enjoyed Resonance by Essa & Pitch 92 and Nippa’s Industreets EP. But Kendrick’s GNX might just take the crown for me this year.”

JANE ARTHY
SVP promotions, Warner Records

How do you think the role of radio changed in the industry in 2024?

“Radio is resilient – it has always been about connecting artists with a community and the way they do that is constantly evolving. Now, the best collaborations are multi-platform moments that feel authentic and unique – be that live events, sessions or bespoke ideas that bring out the best in artists. Greg James taking Dua Lipa back to her old school is a great example of this and it was impeccably executed. It lived on air, had huge social reach, had over a million views on YouTube, grabbed headlines and spread a little joy.”

Were there any airplay hits that took you by surprise?

“Beautiful Things by Benson Boone. It hasn’t left the airplay Top 10 for 34 weeks and is still going strong.” 

What was your favourite track of 2024?

“Feel Like Home by Fousheé. I love how vulnerable it is.”

And your favourite album?

“The Cure’s Songs Of A Lost World. It’s beautifully bleak.”

EMMA BOWNES
VP, programming, Europe, AEG Europe & The O2

When you won at our WIM Awards, you voiced your concern about “everybody having fair access to the gigs they want to see”. Do you think people had this in 2024?

“Ticket prices continue to rise to offset vastly increasing transport, production and freight costs, meaning that the current price of GA tickets to some acts can be so high as to create a divide where some fans are priced out.” 

Do you think grassroots venues are being taken seriously enough by the live sector?

“There is widespread recognition across the industry that there is a crisis in the grassroots sector and that more should be done to protect live music in our communities. My concern is that, with the exception of artists such as Coldplay, Sam Fender and Katy Perry, the rest of the sector isn’t acting quickly enough.”

What was your favourite track and album?

“Good Luck, Babe! by Chappell Roan. For album, The Last Dinner Party – Prelude to Ecstasy. Abigail Morris is incredible.”