It’s time to take stock at the end of one of the busiest years the music business has seen in recent memory. Our special end of year review looks back on it all with an epic collection of reflections from some of the biggest names in the industry. Read on for part 9 of our massive look back, including insight from Kanya King, Darcus Beese, Alistair Norbury, Dorothy Hui and more…
KANYA KING
Founder & CEO, MOBO
How do you feel the industry perceives MOBO at the end of 2024?
“The industry’s support for MOBO has been incredibly encouraging, particularly in recognising the multifaceted work we do beyond the Awards. Our initiatives like MOBOLISE and MOBO UnSung have continued to champion underrepresented talent and drive meaningful change. It’s heartening to see the visibility and support for these initiatives grow, with real backing from our partners, artists, and music industry executives. This year has further solidified MOBO’s role as not just an awards platform, but as a cultural force that uplifts and inspires.”
What could the industry have done better this year?
“Strengthening the live music sector. While live music made a strong return post-pandemic, the industry could have done more to support small and independent venues, many of which remain vulnerable.”
What was your track of 2024?
“Our nominees in the MOBO Awards categories reflect the best of the year, and any of those tracks could be a favourite.”
And your favourite album?
“The incredible nominees for Album Of The Year at the MOBO Awards. Choosing just one feels like an impossible task when they’re all so deserving.”
ALISTAIR NORBURY
President, repertoire & marketing UK, APAC & Europe, BMG
Kylie Minogue scored her fifth No.1 with BMG in 2024. What’s been the key to that successful partnership?
“The partnership that Jamie Nelson, Anna Derbyshire and the entire BMG team have built with Kylie and her management is incredibly collaborative and has evolved continuously over the six years that we’ve worked together. Kylie’s creative vision fuels everything that we do, and together, we’ve been able to bring it to life – something we’re truly proud of.”
Amid new tech and big changes for both majors and indies in 2024, how is BMG navigating the evolving music business?
“BMG is committed to embracing innovation and integrating new technologies that enhance our service to our artists and songwriters, while improving our operational efficiencies. Using the latest data analytics, we gain valuable insights into listener trends and preferences, allowing us to tailor our marketing strategies more effectively. We also place a strong emphasis on collaboration. We believe open communication and creative partnerships are key to overcoming challenges and seizing new opportunities. Our aim is to remain agile and responsive to foster growth and success in this dynamic environment.”
What was your track of 2024?
“Liar by Jelly Roll stands out. Its raw honesty and emotional intensity resonated deeply with me, as the lyrics capture personal struggles that are very relatable.”
And your favourite album?
“Snow Patrol’s The Forest Is The Path became a musical highlight this year, blending masterful songwriting with powerful choruses and rich melodies.”
DARCUS BEESE
CEO, Darco Artists Partnerships
In our interview earlier this year, you said you wanted to be “in partnership with artists and not just in the record business”. Can you shed more light on what you mean?
“It’s about asking, ‘What do partnerships look like between artists and the industry? What does the relationship between the artist and the music company look like?’ I’m doing this through Darco Artist Partnerships, or DAP for short. It also stands for Dignity And Pride.”
You also spoke about A&R and new music and how “everything feels homogenised now”. Do you see this changing any time soon?
“Pop will always be pop. But we have to find our way back down the rabbit hole of genres and find what is exciting about music being made in the UK.”
What was your track of 2024?
“Peaces by Roses Gabor because it’s a protest song and preaching love at the same time.”
And your favourite album?
“Bashy has managed to reset the high bar of delivering not only an amazing body of work but also matched that with the visual aesthetics of the storytelling [with Being Poor Is Expensive].”
CHAR GRANT
Co-founder, The Black Music Coalition/founder, Babychild Music
If you had to sum up the year in the music industry using just one word, what would you go for?
“Challenging. Swathes of change across the industry has affected morale and spaces for long-term artist development are fewer than ever.”
Who do you think was the unsung hero of 2024?
“Deleon Blake – the formidable manager of Griff who has steadfastly delivered her to a No.3 album and an incredible global touring run this year.”
What was your favourite track of 2024?
“Not Like Us by Kendrick Lamar captured the global music community and brought people together in a way only music could.”
And your favourite album?
“Access All Areas by FLO. A tremendous display of the fullness of R&B. Top-tier vocal and production talent from some of the UK’s finest creatives.”
ROBERT RONALDSON
President, Robots + Humans
You told Music Week earlier this year that you believe “majors have their place indefinitely”. Do you still stand by that?
“Yes. I think more now than ever it’s about value-add over anything else and supporting an artist in executing their vision.”
You also told us that “we really do want to be the biggest label in the world at some point”. How do you plan to make that happen?
“By doing the best work we can in adding value to artists. It won’t happen overnight, but we just need to keep getting better and better year on year and not be afraid to invest.”
What was your favourite track of 2024?
“Pozer’s Kitchen Stove. This would be my choice even if he wasn’t our artist, it’s just a bonus that he is. As a label we’re shameless self-promoters but we feel it’s the breakout UK rap hit of the year and has opened the door to a new sub-genre of rap music in the UK.”
And your favourite album?
“Billie Eilish’s Hit Me Hard And Soft. She’s an incredible artist with an incredible body of work.”
MARC ROBINSON
President, Globe
With reference to Globe’s work in 2024, and in terms of what is more advantageous for artist campaigns, what are the merits of brand partnerships vs syncs?
“Globe has excelled in 2024 in helping artists and labels to reach new audiences and amplify campaigns. The brands team specialise in bringing together artists, audience, culture and creativity. Sync marries music to picture and can bring a deep engagement with a song to new and catalogue music on a global level. Globe Originals unites artists and music to filmmakers and creative storytelling. All three areas enable a greater connection between artists and fans, bringing artists into different cultural worlds and platforms, whilst generating additional revenue opportunities for all!”
People often talk about how changing consumption habits continue to impact the work of record labels – but how do they impact the work Globe does?
“How people consume content is key for what Globe does. Whether a sync, branded content or a music documentary, how audiences engage and, more importantly, the strategy to success are essential in the planning.”
What was your favourite track of 2024?
“Jordan Rakei’s Flowers has been a source of joyous calm in a stormy year!”
And what was your favourite album?
“The Cure – Songs Of A Lost World. The album that was worth every millisecond of the wait. A faultless record, a faultless return.”
STEVE TILLEY
Director/promoter, Kilimanjaro Live
As a promoter, what did you admire most about the scale and success of the Eras Tour?
“It perfectly captured the moment an artist and her team’s delivery literally exceeds the hype attached to them. It was incredible to be both an observer of and, luckily, a witness to. When you’re the zeitgeist artist and deliver the greatest show on Earth, the audience connection takes your breath away.”
What was the bigger issue this year – secondary ticketing or dynamic pricing?
“You missed the word ‘greed’ from the multiple-choice options! Secondary ticketing remains the biggest scourge of the live music industry, blood suckers profiting from everyone’s hard work and putting nothing back in at all.”
What was your track of 2024?
“Favourite by Fontaines DC. I’m a sucker for an ear-worm melody.”
And your favourite album?
“Ceremony by The Joy Hotel. Great songwriting, ambitious arrangements, superb musicianship and it hops between genres and eras. The future remains bright for this Scottish alt-pop ensemble.”
STEVE HOMER
CEO, AEG Presents
With all the talk surrounding ticket prices, the cost of touring and festival headliners, how do you feel the live sector is emerging at the end of 2024?
“In good shape – 2024 was not without its challenges, but 2025 is looking good all round.”
What was the sector’s biggest success this year?
“More bands. It is great to see a gang of people playing music together, rather than just solo artists with backing musicians. Healthy stuff.”
What was your track of 2024?
“Guy For That by Post Malone featuring Luke Combs. What’s not to like with this? He has embraced the country market completely.”
And your favourite album?
“The Cure’s Songs Of A Lost World – they’re back with a vengeance.”
ZENA WHITE
COO, Partisan/chair, WIN
WIN published new guidance on generative AI earlier this year – how is the independent community standing up for artists?
“In the context of generative AI in music, there was a scramble to educate and understand first the technology and then the legal position. The independent community has worked to align on the policies that best protect artists’ consent, compensation and credit, and communicating these principles globally, whilst each country works locally to implement respective laws.”
What pleased you more at Partisan this year – the UK Top 10 for Ezra Collective or three Grammy nods for Idles?
“Chart positions and awards are an important part of how we gain recognition for the artists we work for, but nothing pleases me more than seeing a fanbase reflecting the artistic intent behind a record. Big moments for us this year include Body Meat’s Best New Music on Pitchfork; Laura Marling sweeping rave reviews; glowing coverage for PJ Harvey’s tour; Angelica García’s first performances in Mexico; the growing phenomena of Cigarettes After Sex – as well as, of course, Ezra Collective’s Top 10 and Idles’ three Grammy nominations.”
What was your track of 2024?
“Outside of Partisan, Bon Bon by Fcukers. Fresh from a new DIY club scene in NYC, it’s great to see going out become cool again.”
And your favourite album?
“Again outside of Partisan, Here In The Pitch by Jessica Pratt. It’s an exploration in classic songwriting.”
DOROTHY HUI
Digital & audience development consultant
How did the music industry embrace tech in 2024?
“Given the need to balance complex stakeholder needs with rapidly changing behaviours, the music industry often takes a considered [stance] towards advancing technology. As a result, it is rightfully approaching AI with a mix of caution and excitement. The industry has adopted an exploratory outlook, testing use cases as we move towards an AI-assisted creator economy. It’s encouraging to see support for start-ups focused on AI attribution, which will help develop new monetisation models for artists and rights holders. Meanwhile, artists, labels and digital platforms are trialling new avenues for creative development, content adaptation, marketing and collaboration. These efforts will help establish which strategies may become core parts of audience engagement and future processes.”
And how did changes in social media impact campaigns?
“Through the constant state of evolution across innovation and new technology, it’s been about thinking of new ways to empower artists and labels to succeed. And to do so in an age where the landscape and vehicles used to connect with fans are continually morphing.”
What was your favourite track and album of 2024?
“Arxx – Crying In The Carwash.”
And your favourite album?
CHARLIE HEDGES
DJ, BBC Radio 1
How did dance evolve in 2024?
“You only have to look at the UK charts in 2024 to see how incredibly well dance music has done this year, and rightly so. It’s such an exciting scene and an exciting time for the genre.”
What was your track of 2024?
“It has to be Chase & Status and Stormzy’s Backbone, it was such a moment seeing these artists collaborate and what an absolute tune it is!”
And your favourite album?
“Becky Hill – Believe Me Now? I believe this album will still sound good in 30 or 40 years from now. She’s a force to be reckoned with and watching her sell out Wembley this year made my heart happy.”
CAM PIA
Music editor, BBC Radio 6 Music
What do you think 6 Music’s biggest win was this year?
“There are a number of campaigns we’re proud to have championed – from new artists like MK.Gee, CMAT and Fat Dog, to the return of Ezra Collective, Fontaines DC and Kim Gordon. The Cure’s exclusive session ahead of album release was a huge moment for us and one that we’ll treasure for years to come. We also went big on Sophie’s posthumous release [pictured above], including a deep dive into her life and work. I’m gutted we weren’t able to do it while she was still alive.”
What was your track of 2024?
“Starburster by Fontaines DC.”
And your favourite album?
“Brat, Brat, Brat and Brat again.”
SALLY DAVIES
MD, Abbey Road Studios
What is the pipeline for new studio talent like right now?
“We’ve followed Cicely Balston for some time – she’s an exciting mastering engineer. Her hiring, alongside Stefan Brown, allows us to embrace a wider set of projects. Recently, we launched a freelance mastering model, which opens the door to a broader range of talent, and our new runners programme creates opportunities for aspiring studio talent. Abbey Road Institute’s Diversity Scholarship also increases accessibility to music production and engineering education.”
What was your favourite track and album of 2024?
“Morgan Wallen’s cover of Graveyard Whistling, and Jordan Rakei’s The Loop.”
