From shifts at the top of the major companies to big debates about AI, remuneration and the independent sector, it has been an incredibly busy 12 months. And that's before you even consider Oasis' comeback, global breakthroughs and the return of Taylor Swift, as well as a bonanza year for live music. Here, we quiz a host of industry figures about how they saw 2025, including Ben Mortimer, Jo Charrington, Glyn Aikins, Laura Monks, YolanDa Brown, Tim Major, David Gray, Sheniece Charway, Laura Lukanz and many more...
GLYN AIKINS
RCA/Since ’93
Myles Smith had a huge year. What are your plans for him in 2026 and how will you keep his incredible run going?
“Myles’ rise in 2025 has been one of the defining artist stories of the year – a testament to his songwriting, work ethic and the global strategy behind him. The focus for 2026 is on sustained growth and creative evolution. The new music he is recording will expand his sonic identity while deepening his emotional connection with audiences. On a global level, we’ll be consolidating his US success, building across Europe, Asia and Australia, and extending his live footprint. Myles represents the strength of the new generation of British global talent, and our goal is to ensure his trajectory continues to set new benchmarks for longevity and cultural impact.”
What did the industry learn about domestic breakthroughs in 2025?
“This year underlined that meaningful artist breakthroughs still come from long-term vision and investment. The most successful domestic acts were those nurtured over time – artists with a clear creative identity and a strong sense of purpose. The industry is rediscovering the value of patience and conviction: backing artists beyond the initial viral moment and focusing on sustainable careers built on authenticity, world-class music and consistent execution.”
What was your track of 2025 and why?
“Raye’s Where Is My Husband! had pure pop energy with immediate cultural resonance. One record and suddenly everyone has an opinion. There were memes, TikToks, tabloid headlines and fan debate, all at the same time. A reminder that a song – a single – can still own the conversation on its own terms.”
And your favourite album?
“Little Simz’s Lotus. Her voice carries a different gravity. Simz is writing from the centre of her lived experience and the culture is hanging on every line. Serious craft, serious discourse.”
BEN MORTIMER
Polydor Label Group
What can the industry learn from the success Polydor Label Group has had in terms of artist development throughout this year?
“Patience. If you’ve got someone brilliant [be patient]. All of the best artists are a bit flawed, you know? And we have to appreciate that and give them the time and space to be like that and not let it break them. If an artist is having a bit of a tough time at a certain moment, it’s about saying, ‘That’s okay, give them a moment.’ It’s really about asking, ‘Are they working with an interesting person?’ not necessarily just chasing the hit.”
What was your track of 2025?
“White Horses by Wolf Alice. I love the blend of the two different voices [Ellie Rowsell and Joel Amey] and I just can’t stop playing it!”
And how about your favourite album?
“People Watching by Sam Fender. Yes, I’m obviously biased but it’s a classic.”
LAURA LUKANZ
Amazon Music
What was your proudest moment of 2025?
“Being recognised at the Music Week Women In Music Awards was incredibly humbling, but what truly made 2025 special was seeing the daily passion, graft and impact of our team’s dedication to British music. Whether it’s spotting and nurturing emerging talent through curation, creating new programmes for established artists to connect with fans in new ways, or helping breakthrough acts reach wider audiences, our love for music drives everything we do.”
So, how did Amazon find new ways to help artists this year?
“This year, we really wanted to push boundaries and create even more opportunities for artists to connect with fans. We launched an exciting new format called Songline in the UK, capturing intimate live sessions and interviews with artists like Little Simz and Ed Sheeran, alongside some brilliant exclusive livestreams. In partnership with Metropolis Studios, we launched The Breakthrough Lab in London, a world-class recording space that gives emerging talent access to facilities that can really help them level up. We hosted our first songwriting camp with Concord Music Publishing and we invited this year’s Artists To Watch, Good Neighbours and Luvcat, to record versions of classic British Songs as Amazon Originals.”
What was your track of 2025?
“A few favourites are Luvcat’s Blushing, Fred Again.. and Skepta’s Victory Lap, Little Simz’s Free and CMAT’s When A Good Man Cries.”
And your favourite album?
“Dave’s The Boy Who Played The Harp. It felt like a long wait, but it was worth it! It’s such a brave, honest, soul-searching body of work.”
LAURA MONKS
Decca
As someone who played musical instruments growing up, do you support calls for improved access to music education?
“Absolutely! Music and creative arts being part of school curriculums in any form is so fundamental to a meaningful education. Learning an instrument can support success in any industry, as well as potentially launching the next generation of artists. What’s happening currently is the start of some much-needed change that I plan to support in any way I can.”
Ludovico Einaudi broke records at the Royal Albert Hall this year with his six-night residency – how has he managed to cut through on platforms such as TikTok?
“Ludovico’s music has always been the soundtrack to people’s lives and he has always been a hugely prevalent sync artist across film, TV and advertising. TikTok and other social platforms have been an extension of this. He has an incredibly lean-forward fanbase who attach huge meaning to his music, so the fact he tours continually has given some the ability to really shout about it – the posts from fans listening to his music at the Edinburgh Castle show that went viral are just one example of this.”
What was your track of 2025?
“Rosalía’s Berghain – what a game changer!”
And your favourite album?
“Ólafur Arnalds & Talos: A Dawning was a stunningly beautiful project.”
SHENIECE CHARWAY
YouTube Music
Is there an exec who wowed you in 2025 that you’d like to shout out?
“Mel Rudder [plugger and Three Thirty Music founder who passed away in November]. She was so graceful, hardworking and always opened doors for so many Black women. Mel was a fighter and a big champion of mine. The industry won’t be the same without her.”
What kept you motivated most about the industry this year?
“God kept me motivated, as this year has been a tough one for music. Also, my colleagues and peers inspire me everyday and continue to show me that we are very blessed to work in this industry.”
What was your track of 2025?
“Kehlani – Folded. I love the sophisticated production, Kehlani’s captivating vocal and the clever metaphorical use of folding clothes as a symbol of holding on and letting go. I just love R&B.”
And your favourite album?
“Clipse’s Let God Sort Em Out was everything I hoped for and more. I also have to shout out to Odeal and Kwn, who both made stellar albums!”
JO CHARRINGTON
Capitol Records UK
How will you build on what has been a huge year for Olivia Dean?
“Just keep planning, but also be mindful of her time and energy and make sure Olivia gets enough rest, because a burnt-out artist isn’t good for any of us and it’s not good for her. It’s about forward planning, keeping the ambition up. It’s not a case of the campaign ends and we all have a break; we owe it to Olivia now to make sure that we continue supporting her and keep challenging ourselves, but without compromising her. It’s a daily conversation that we have with a core team supported by the wider group globally. A lot of my time and [MD] Tom Paul’s time is spent on that because this campaign is just too important.”
What lessons can we learn from the big chart stories over the past 12 months?
“No one saw K-Pop Demon Hunters coming. Isn’t that amazing? Isn’t that exciting? It’s so different. It keeps us on our toes. I think songs were brilliant this year, like Alex Warren’s Ordinary, for example. I think brilliant songs are still everything and still matter and I think kids surprise us with what they choose. I’m glad to be in [the chart] when it happens, but if I’m not, as long as my artists’ streams have got a really healthy resting heartbeat, then we know we’ve got a great artist and we’re going to get in the charts at some point. That’s how I look at it.”
DAVID GRAY
Universal Music Publishing Group
How did you take UMPG UK forward this year?
“I was lucky to inherit a great artist and writer roster as well as a fantastic executive staff. We have focused even more on being a service company that is creative and forward-thinking. In all aspects, we wake up thinking of ways to add value to our writers and artists’ careers.”
UMPG writer Ines Dunn won the Music Creative honour at our Women In Music Awards this year – what can you say about her future as a hitmaker?
“Ines has that rare combination of songwriting talent, emotional intelligence and focused ambition. This is why I think she will have a long career, as opposed to having just a hit or two.”
What was your favourite track and album of 2025?
“It’s a tie for me between My Man On Willpower, written by UMPG’s very own Sabrina Carpenter and Jack Antonoff, and Skye Newman’s Family Matters, also UMPG! My album is Sabrina Carpenter’s Man’s Best Friend. I haven’t heard such a sophisticated pop record in a long time.”
TOYIN MUSTAPHA
TikTok
How do you reflect on the industry’s success at breaking acts in 2025?
“It definitely feels like we’re moving back in the right direction in terms of great new artists breaking again. Skye Newman and Florence Road are just a couple of examples. I’d love to see more domestic success stories in this regard in 2026, and I’m feeling optimistic that we will.”
TikTok won the Music Consumer Innovation category at the Music Week Awards – does such success change perceptions of the company?
“It’s not for me to speak on people’s perceptions of TikTok, but I’d hope we’ve continued to consistently show our commitment to working with artists and partners across the industry to help drive the business forward, especially in the UK.”
What was your track of 2025?
“99 (feat. Daecolm) by Olamide, Seyi Vibez, Asake & Young Jonn. This song felt like another evolution of the music being produced by African, particularly Nigerian, artists and very much soundtracked my summer.”
And your favourite album?
“Kwn – With All Due Respect. Kwn has been one of my favourite artists for a while now. This body of work cemented that.”
DOROTHY HUI
Platoon
How do you want to help creatives in your new role at Platoon?
“I’m excited to lead marketing as part of the world-class team at Platoon. I want to support independent artists in building meaningful fan relationships that can last their whole careers. Our goal is to provide a human-centred marketing approach tailored to each artist’s development stage and story.”
Can you share the biggest lesson you learned this year?
“The power of community can be exponential. Show up in the community you’re part of. Cultivate community with intentionality and with heart. The Lone Wolves Collective, a community of music executives across multiple sectors and disciplines, is an amazing example of this. Equal parts hive mind, support system and inspiration.”
What was your track of the year?
“Rosalía’s Berghain featuring Björk and Yves Tumor. This song is a statement track unlike anything we’ve heard in recent times.”
And your top album?
“I love Sasami’s Blood On The Silver Screen for its perfect blend of theatrical pop with a metal heart.”
VANESSA BOSÅEN
Virgin Music Group UK
Amidst constant evolution, how much of a challenge was it to get ahead in 2025?
“It’s been a thrilling time in our business to be independent. The pace of change in our industry – from streaming algorithmic shifts, to global market opportunities in Africa, Latin America, Asia and more, to evolving deal-types and artist expectations – is relentless. But at Virgin we embrace that. In fact, we’ve structured ourselves for that change. There’s no denying change can be a challenge, but we’ve turned it into a strategic advantage. Rather than playing catch-up, we aim to lead: to anticipate artist needs, to provide a suite of services based on those needs, and to create infrastructure that gives our partners freedom and confidence to succeed in the modern independent music industry.”
What was your favourite track and album of 2025?
“Space In The Cab by The Itch. Banger! It’s got that perfect mix of swagger and sentiment, the sort of track that manages to sound effortlessly loose while landing every unruly punch. For my album, it has to be Songs For The Spine by The Royston Club, released through Modern Sky UK. A reminder of just how powerful a band can sound.”
KAMRAN HAQ
Live Nation
How do you reflect on Download 2025?
“Download Festival was an incredible success with three completely new headliners: Green Day, Sleep Token and Korn. The booking changes we made meant we had a broader representation across the whole rock and metal spectrum, which resulted in 44% of the audience being first-time ticket buyers. District X [introduced in 2023] has been an absolute smash hit, where we’ve created a festival-within-a-festival for campers, with everything from early-morning workouts and meditation, to late-night DJ sets and heavy metal sports days! We want to build on the success of 2025 by continuing to bring a broad mix of acts, new artists playing the festival for the first time, developing District X and adding more after-hours entertainment and activities. Our ticket sales are 50% ahead of 2025 already, which hopefully shows we are doing something right.”
Can you share your reflections on the final Black Sabbath show at Villa Park?
“The atmosphere at Back To The Beginning was something else; it truly felt like a metal version of Live Aid. Seeing some of the biggest rock and metal acts in the world coming together to celebrate Ozzy and Black Sabbath was a testament to his legacy and impact on the genre. I don’t think there will be another rock star like Ozzy. RIP.”
What was your favourite track and album of the year?
“Turnstile – Never Enough was the song of the year for me. Incredibly catchy, and with that visceral hardcore energy that got me into the band in the first place. For my album, Ghost’s Skeletá was the perfect mix of theatrical ’80s rock and glam.”
KAREN EMANUEL
Key Production Group
Amid the current success for vinyl and the resilience of CD, do you think there’s any possibility of a new format emerging?
“We already have smart formats that sit alongside the traditional ones and I can’t see any more new formats, as such, emerging. What I can see is new and exciting ideas with innovations in bespoke packaging and new vinyl effects being explored.”
The Grammys has an award for packaging and box sets – do you think this creative work deserves more recognition?
“Absolutely, yes! We look on a release as a creative piece of art – not only in the music but also in the design and contents of the package, which help communicate the artist’s vision and deepen the narrative of the music. These are true collector’s editions that you cherish forever.”
What was your track and album of 2025?
“Haim’s Relationships – I’ve loved them since The Great Escape back in 2012. And the Viagra Boys album made me jump around my living room with reckless abandon.”
YOLANDA BROWN
BPI
You were an IVW ambassador this year – are you optimistic about the future for grassroots venues?
“Yes, not least given the inspirational work of Independent Venue Week founder Sybil Bell and others like her, who are such passionate grassroots champions. Organisations like IVW and the Music Venue Trust are doing a brilliant job at making this such an important part of the conversation. Venues are a vital part of our diverse music ecosystem and, as a venue owner myself, it was a proud moment to have Soul Mama be a part of IVW. We hosted great gigs, and I was honoured to be an ambassador.”
What are your expectations for the BRITs’ big move to Manchester next year?
“I can’t wait! There is such a buzz building already, with mayor Andy Burnham, his team and the public there all so excited at the thought of hosting a whole new chapter in The BRITs story. It will be fresh, different and I think the artists will love it as much as the fans.”
What was your favourite track and album of 2025?
“Raye – Where Is My Husband! and Emma-Jean Thackray’s Weirdo.”
TIM MAJOR
Sony Music Publishing UK
What were your key goals for 2025?
“We set ourselves the challenge of building an even greater community with our songwriters, so to achieve this we launched a series of new initiatives and events. These included our now established Songwriter Breakfasts, where we get together and talk about issues including sync, digital licensing, mental health and more. We have also held some fantastic sync showcases, where we have had our songwriters performing in front of music supervisors, plus we held some brilliant sync writing camps and have had some success with placements from these. Also, our employee culture committee arranged a wonderful event called Off Record, where Dan Smith presented to our team and other songwriters the story behind some of his biggest songs. Elsewhere, we worked with SXSW London on a showcase, which was a real moment, and we launched our first online songwriter handbook, which is available to all of our songwriters and their teams!”
Who is the year’s best new songwriter?
“We’ve just started working with Aaron Rowe, who I think is incredible. He’s a real storyteller and already has a host of brilliant artists in his corner who recognise how special he is. I really want everyone in the world to hear his music.”
What was your favourite track and album of 2025?
“Olivia Dean’s Nice To Each Other, co-written with Matt Hales who’s signed to SMP through our partnership with Second Songs. That song’s been central to the incredible breakthrough Olivia had in 2025. I’d like to highlight two albums: The Clearing by Wolf Alice and Lotus by Little Simz. We are so blessed to have recently started working with her.”
JAMES WRIGHT
UTA
Can you sum up live music in 2025?
“This has been one of the most dynamic years I’ve seen. The appetite for shows has been extraordinary, but more importantly, the breadth of what is working is wider than ever. It ranks as one of the most creatively energising periods of my career. When audiences are this engaged and open, artists can think bigger and stranger, which is where the fun really begins.”
What did the live sector do better this year than in 2024?
“We communicated better. Rising costs haven’t disappeared, but there has been a noticeable shift toward transparency and pragmatism between agents, promoters, production teams and venues. Routing became smarter, business models became more flexible and conversations started earlier.”
Finally, what was your favourite track and album of 2025?
“My son tried to make me pick Golden from K-Pop Demon Hunters, but I’m going to say Something Heavy by Jacob Collier. And Sam Fender’s album… It was just really good.”
NIKITA KANDA
BBC Asian Network
What was your track of 2025 and why?
“Sapphire by Ed Sheeran, featuring Arijit Singh. Sapphire deserves to be the song of the year because it beautifully blends pop with Asian sounds, and hearing Ed pour himself into the culture and be able to sing in Punjabi was so nice. It resonated globally and opened up new music possibilities. It shows that music has no barriers or boundaries, especially with language, and everyone from all backgrounds can enjoy this one!”
And your favourite album?
“Karan Aujla and Ikky’s P-Pop Culture. Artists like Karan are constantly evolving and this record was more than just songs; it represents a movement and our cultural identity. I like how they’ve taken influences from different genres like pop and hip-hop, but also bhangra artists from the UK, and fused it all together. It’s very cleverly thought out. This album proves that Punjabi music can’t be put in a box or stereotyped.”
STEVE HOMER
AEG Presents UK
Are things easier for touring acts than at the start of the year?
“A significant number of tours have been on sale for a long time in 2025, which gives the best chance of success for artists and promoters. It certainly helps the industry.”
Who was the live sector’s unsung hero?
“Jon Collins has done a lot to move the LIVE Trust along; now with the trustees in place it will start to deliver.”
What was your favourite track and album of the year?
“My track is My Kinda Saturday Night by Luke Combs. Country rock’n’roll – what’s not to like? And my favourite album is Wolf Alice’s The Clearing, which took a total step up from their previous records. I love it.”
MICHAEL ADEX
NQ
Name NQ’s best achievement this year?
“This year was a real turning point for NQ. We fully stepped into our identity as a global creative company, not just a Manchester success story. From WizTheMC’s billion-stream year and the impact of Yebo, to Aitch entering the next phase of his career with huge cultural moments, and making impact with our publishing and creative services internationally… We remain keen to prove that world-class talent and world-class execution can come from anywhere.”
To what extent is the industry still London-centric?
“Structurally it is, but culture isn’t. Audience discovery, global streaming behaviour and the rise of borderless online communities mean that talent no longer needs a London postcode to break. The infrastructure investment, decision making and executive talent is still largely concentrated there but I don’t foresee that will be [the case] for long.”
What was your track of 2025?
“WizTheMC’s Show Me Love showed what happens when great songwriting meets true international resonance.”
And your favourite album?
“Gunna’s One Of Wun. His consistency is unmatched. The kind of album that sounds effortless, but shows real mastery. He is still shaping the sound of modern rap.”
STEVE TILLEY
Kilimanjaro Live
How did the St James’ Park shows help define the year for Sam Fender?
“They were history-making gigs, ‘tell your kids you were there’-type shows. There wasn’t a dry eye in the stadium, including me, when he played Remember My Name. I don’t think I need to say anything else about Sam’s talent and cultural impact. The pride and love of the North East in the boy from North Shields was justifiably overflowing. I’m glad the Mercury judges agreed.”
Are you encouraged by initiatives for the grassroots sector this year?
“Yes. I hope that common sense prevails in the biggest corporations and they realise that there’s a direct link between a bunch of kids playing their first gig and the ecosystem that provides them with their employees, talent and customers.”
What was your track of 2025?
“Undressed by Sombr. Just great.”
And your favourite album?
“Rather than an album, I want to highlight the under-represented genre of heavy metal and hard rock. It sells tickets, sells units and is forever reinventing.”
LARA BAKER
Spotify/Music Week Women In Music Awards
What lesson should the industry take away from this year?
“That British talent is a force to be reckoned with! There was a lot of panic not long ago about where the next wave would come from and whether we could still have the same impact internationally – not from within Spotify, I might add! So it’s great that artists like Olivia Dean, Lola Young, Raye, Sam Fender and others are showing we’ve still got it.”
What are your reflections on this year’s edition of the Women In Music Awards?
“The event is here to stay. We’re still building towards an equitable industry, and while that’s the case, these awards will shine a meaningful spotlight on incredible women in every sector.”
What was your track of 2025?
“Raye’s Where Is My Husband! is 10/10, no notes. I love the tongue-in-cheek lyrical content, the brass, the vocal performance, the energy, the bit with her nan…”
And your favourite album?
“Lily Allen’s West End Girl. She’s always been a fantastic storyteller – and what a story!”
VANESSA BAKEWELL
Meta
How do you feel the discussion around AI moved forward in 2025?
“At Meta, we have seen more engaging experiences. AI-driven recommendation systems enable people to discover more, which increases engagement. AI is also making a big difference when it comes to paid performance in marketing; scaling creative and fine-tuning campaigns.”
And how have artists used Meta to harness their fan relationships?
“Artists have been leveraging WhatsApp to bring fans closer, creating a modern- day fanclub experience. They are engaging with fans in new ways through Channels and can connect with them more directly in their main feed via business messaging, right alongside their main contacts. We see fans excited to hear from their favourite artists in such a personal, authentic way. They are meeting them where they already are and making every update feel special.”
What was your track of 2025?
“Fontaines DC’s It’s Amazing To Be Young. It’s my most played track this year; it’s such a wonderful, hopeful, nostalgic song.”
And your favourite album?
“Rosalía’s Lux was, without a doubt, my most anticipated musical moment in recent memory. I haven’t felt this level of excitement to listen to an album in its entirety for a long time. Lux is truly a masterpiece, and an album that I know I’ll be returning to and enjoying for years to come.”
ZENA WHITE
Partisan/WIN
Partisan has seen another rock breakthrough with Geese – what’s special about the band?
“Geese are four incredible musicians who have dedicated themselves to their craft, separately and together. We’ve worked with them for over five years, and everything came together this year. Their album Getting Killed has been the access point, as well as Cameron Winter’s solo LP Heavy Metal, but new fans are now diving into their catalogue.”
What was the biggest campaign issue for WIN in 2025?
“WIN’s key priorities have been promoting a competitive marketplace, fair AI development and ensuring a level playing field in streaming.”
Can you tell us your favourite track of 2025?
“Event Of A Fire by Blondshell – gives me goosebumps every time.”
And how about your choice for album?
“Westerman’s A Jackal’s Wedding. Songwriting for all seasons.”
TOM KIEHL
UK Music
Can UK Music win the policy arguments on the ethical use of generative AI?
“The creative industries are coming together. Whether we achieve transparency from AI firms and get government to rule out any damaging exceptions to copyright hinges on two things. Firstly, our ability to maintain and grow this movement of support. Secondly, whether we can sufficiently leverage this bold coalition to change the hearts and minds of those that hold human creativity’s future in their hands.”
What was your favourite track and album of 2025?
“Pulp’s Spike Island was a wonderful surprise; it’s great they are still sounding so good after all these years. My favourite album was Eusexua by FKA Twigs. Raw and complex, but totally invigorating.”
SHAURAV D’SILVA
Stellar Songs/2-Tone Entertainment
Looking back, what was the key to top campaigns in 2025?
“A meaningful narrative around the song. As good as a record or an artist can be, the connection with the core community must be real and the narrative compelling.”
What kind of support did up-and-coming execs need most this year?
“Help with managing the ever-moving definition of success and the never-ending pursuit of breaking new ground. I meet too many execs who are constantly told ‘it’s not enough’. This is very damaging for their self-worth and makes the process feel less important than the result.”
What track and album stood out to you in 2025?
“Ed Sheeran’s Azizam was hooky with a tasteful nod to Persian culture, and The Weeknd’s Hurry Up Tomorrow brought more top tier artistry.”
DOT LEVINE
Vevo
Why do you think music videos were important in 2025?
“Music videos are the centre of culture and create some of the most talked about moments of the year. Whether it’s nostalgia or new releases, music videos always drive both conversation and connection.”
Which was your favourite this year?
“Chappell Roan’s The Subway. Having moved back home from NYC three years ago, I will always love a video that’s shot there. This video is so quintessentially New York, even with the Green Lady of Brooklyn cameo, and it’s such a great track, too. It’s the perfect combo.”
What was your track of the year?
“Man I Need by Olivia Dean. I have been a big fan of Olivia’s for years now. She was a Vevo DSCVR Artist To Watch for us back in 2021, and her journey since then has been so exciting. Her sound has grown up with her, and we’re so happy she has had such a big year, with sell-out shows and a Grammy nod for Best New Artist. She is just getting started, so let’s see what 2026 has in store for her.”
And what was your favourite album?
“Lily Allen’s West End Girl. I haven’t stopped listening to it. It is emotionally raw, and the songs are bangers. It’s really honest and personal, while also having mass appeal.”
ZEON RICHARDS
Renowned Group
What was the biggest challenge facing managers this year?
“The amount of work it takes to break an artist in the digital landscape. There is a lot more to manage than in the past.”
How have you kept up with the growth of your client DJ AG this year?
“We have kept up by building an amazing team with Fiona Ramsay and Joe King, and by targeting emerging markets, meaning secondary towns across the country, and then travelling around the world to collaborate and build the audience abroad.”
What was your track of 2025?
“Olivia Dean – So Easy (To Fall In Love). It’s a quality record that captures the true essence of songwriting.”
And your favourite album?
“The Art Of Loving is fantastic. Olivia and her team have done a great job creating a body of work that is breaking around the world.”
SIAN ELERI
BBC Radio 1
You were part of the Mercury panel this year, what impact do you feel the Prize had as it moved to Newcastle?
“It’s huge. As a teenager in Caernarfon, Radio 1’s Big Weekend being seven miles down the road in 2010 [in Bangor] made the industry feel not so out of reach. I felt seen. Having names like Rihanna and Florence + The Machine on our doorstep was surreal. This year, the welcome we got in Newcastle was second to none, you could feel the buzz. The Prize moving from London shows the industry doesn’t revolve around one city.”
How do you reflect on the landscape for new artists in 2025?
“It’s such a difficult climate to navigate right now. Artists are expected to be marketing machines on their own, leaving them with less time to dedicate themselves to making music – all while juggling jobs just to make ends meet. But music has also never been more accessible, and there’s a genuine hunger to discover new artists.”
What was your track of 2025?
“Dora Jar’s Lucky. She’s lyrically so vivid, and this track is so picturesque.”
And your favourite album?
“Rosalía’s Lux. Each track is based on a female saint and performed in that saint’s respective language, with 13 languages in total. It’s wild. One of the best albums of the 2020s, I’m calling it now. It’s transcendental, with so much thought and care poured into it.”
ANDY VARLEY
Insanity
Tom Grennan had big success in 2025 – what does that say about Insanity?
“It is the perfect example of our artist development. We’ve worked with Tom for nine years, backing him on four album campaigns – creatively, commercially and personally. This year, he celebrated his third consecutive No.1 album and a sold-out UK arena tour, which didn’t happen overnight. It’s the result of long-term commitment and a proper partnership between artist, management and label team. We commit to artists early, and build careers with longevity. Tom’s journey shows what happens when you nurture artists properly.”
What kept you awake at night in 2025?
“The pace of change in streaming and what that means for breaking artists. The landscape has never been more fragmented, attention is spread across countless platforms and algorithms, and audience behaviour is increasingly unpredictable. Trying to cut through that noise is more complex than ever. It’s not just about a great song; it’s about timing, culture, data, community and a level of creative consistency that can feel relentless for artists. The challenge is finding the balance between reacting quickly and maintaining a long-term, artist-first mindset.”
Can you tell us your track of 2025?
“Pussy Palace by Lily Allen. She leans fully into humour, vulnerability and provocation in a way only Lily can.”
And how about your favourite album?
“Rosalía’s Lux. She’s one of the most innovative artists of her generation.”
CARLA MARIE WILLIAMS
Songwriter/Girls I Rate
Songwriters’ rights were in the news a lot this year – to what extent are you happy with what’s changed in 2025?
“I’ve attended some great camps this year. The Ivors and YouTube camp at the Qube was outstanding: they gave us per diems, provided great food and everything was very well organised. Jin Jin hosted a camp, which was super-productive, hospitable and had great energy. I also hosted a Girls I Rate Future Hitmaker Residency with PRS Foundation, where all participants were paid a ‘time to create fee’. Steps are definitely being taken, but I feel there is work to do to create safe and equitable spaces for women creatives, while ensuring songwriters are being properly compensated and credited.”
And in terms of your campaigning work, how was 2025 for Girls I Rate?
“I feel we’re in the reproduction stages! It’s our 10-year anniversary next March, it’s all about new adventures, and pushing the conversation for us in levelling the playing field for women.”
What was your track of 2025?
“Kehlani’s Folded. It’s most women’s truth! Absolutely love it!”
CÉCILE RAP-VEBER
SACEM
Can you tell us what has pleased you most about the music business this year?
“Seeing more women, especially from the younger generation, truly breaking through. It’s inspiring to witness fresh voices gaining recognition and making an impact. I’ve also noticed a wider diversity in musical genres compared to previous years, which makes the landscape feel more vibrant and dynamic. Also, there’s been a notable rise in worldwide tours by French artists. Take Air, for example: they demonstrate beautifully that when music is exceptional, it transcends borders and speaks to audiences everywhere.”
What could the UK industry learn from its French counterpart in 2025?
“In reality, we’re facing very similar challenges. Our leaders have yet to step up to protect creators from the pressures of generative AI and unfair competition. Until that happens, we’re all navigating the same uncertain waters.”
What was your track and album of 2025?
“The Fate Of Ophelia by Taylor Swift. I love the pure joy that radiates from it. The collaboration between Taylor Swift, Max Martin and Shellback is flawless. My album is Mon Sang by Clara Luciani. A heartfelt ode to the birth of her son and to the idea of passing on memories, love, or life lessons.”
