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 Briony Turner, Ed Howard, Joe Kentish, Taponeswa Mavunga, Marc Robinson, Dugi Lipa, Kenny Gates, Charisse Beaumont and more...
BRIONY TURNER
Atlantic
What was your highlight of this year?
“With Atlantic winning Promotions Team Of The Year at the Music Week Awards for a 17th time, it was fantastic to see our wonderful Mel Rudder given her flowers live on stage by Damian Christian [MD and president of promotions]. Mel was not only a dear friend to many, but an important and passionate cultural figurehead in British music. She is gone far too soon, but I know we will feel her presence and her incredibly positive impact for years and years to come. I feel enormously privileged to have worked with her for many years and grateful that I will always hear her voice in the back of my head.”
What was your track of 2025?
“It has to be Silver Spoon and Marble Arch on Erin LeCount’s I Am Digital, I Am Divine EP. Silver Spoon started to make waves online and both songs are incredible moments in her live set. I’ve been lucky enough to spend time with and around Erin, and you can really see how she manages to connect with people with her deep artistry and warm demeanour.”
And your favourite album?
“Lux. I love how Rosalía manages to blend the worlds of alt-pop and classical, creating something totally unique, while also pushing the limits of what’s possible for both genres.”
ED HOWARD
Atlantic
How do you reflect on Ed Sheeran’s Play campaign?
“It’s been fascinating to see the effect of new music on the catalogue across the world with Ed going back into the Top 5 most listened artists globally on Spotify and the Tour Collection not leaving the Top 10 in the UK for most of the year. Play drove a huge part of that, while itself performing really well globally and helping break new ground for Ed, in particular in India where Sapphire is by far the biggest international record of the year.”
Did you learn anything new about Ed from this campaign?
“I already knew about his deep care for young people and for music and music education, but it was amazing to watch him express this in so many beautiful ways through his Foundation this year.”
What was your track of 2025?
“I Care by Turnstile. I love the energy from the first note; it channels my favourite classic bands but sounds super fresh. Best consumed live.”
And your favourite album?
“Lux by Rosalía. Effortlessly shifting the centre of cultural gravity, I didn’t know how much I needed this album.”
JOE KENTISH
Warner Music UK
Sombr had a huge year in the UK. What drove his success?
“Sombr’s breakthrough was down to his incredible mix of elite artistry and Gen Z savvy. Not only is the music he puts out brilliant and ambitious, but he’s also able to speak to his audience in a way that’s completely authentic, relatable and fun. He is a unicorn artist, and yet another great development story from Warner Records US.”
What was your track of 2025?
“Sombr’s Undressed – what a lyric! A perfect song, which sounded instantly classic. An honourable mention for Lily Allen’s Pussy Palace. Now that’s a diss record.”
And your favourite album?
“PinkPantheress’s Fancy That. I remember being sent a link to the record by Tobi Omoloja and Jade Richardson, the A&Rs, whilst I was in LA. I played it in my car and immediately called and texted everyone, raving about how great it was. In hindsight it was probably about 1am and they all would’ve thought I was mad. I stand by my reaction, though!”
TAPONESWA MAVUNGA
Sony Music UK
This year has seen many success stories for African music, but which was your personal favourite?
“The Queen Of Afrobeats, Tiwa Savage, releasing This One Is Personal was a stand-out moment. Tanzania’s Abigail Chams and her BET nomination also shone a well-deserved spotlight on East Africa. But my favourite has been Tyla’s phenomenal rise. From winning the first Grammy for Best African Music Performance in 2024, to where she is now, her journey has been transformative, not only for South African music but for women across the continent. I love that she’s fearless and learning as she goes. She represents the new face of African creativity.”
What trend from the African continent has the UK been sleeping on?
“Perhaps 3Step. Born from South African electronic, amapiano, Afro?house, and Afro?tech, it’s deeply anchored in African culture yet made for global dancefloors.”
What was your track and album of 2025?
“The song Joy Is Coming by a Nigerian artist called Fido was a tonic for 2025. As for my album, Rosalía’s Lux is incredible, and 5ive by Davido is bold and personal, celebrating African excellence on a world stage.”
MARC ROBINSON
Universal Music Globe & Globe Originals
After K-Pop Demon Hunters, do you anticipate we’ll see more original chart hits coming from TV animation?
“Whether animation or not, it shows how the music and film zeitgeist moments can have global impact and make the music travel to audiences at a speed we have not seen before. Here’s to many more!”
Lewis Capaldi returned this year, what’s he like to work with on sync and partnerships?
“He’s such an incredible character, so you want to listen and hang out with him. There’s a great team around him to work with. It’s all about everyone coming together to really execute the best version of events because we’re competing with not just other music now, we’re competing with everything.”
What was your track of 2025?
“Florence + The Machine’s Everybody Scream. Florence and The Maccabees’ performance together at Glastonbury was the live highlight of 2025!”
And your favourite album?
“Dave’s The Boy Who Played The Harp, Sam Fender’s People Watching and Olivia Dean’s The Art Of Loving – with nods to Self Esteem, Fontaines DC and Michael Kiwanuka.”
DUGI LIPA
Radical22
What did you learn from Dua Lipa’s stadium shows this year?
“Seeing Dua go from arenas to stadiums has been a phenomenal experience; she somehow manages to make a 90,000-strong sold-out stadium feel so intimate. We’re reflecting on the tour with overwhelming joy and gratitude for the work that goes into something like this, but mostly gratitude to the fans from around the world who have come out, night after night, and sung their hearts out. The feeling really doesn’t get old! That said, we’re always thinking about what’s next, how we can exceed our own expectations. It’s been a really incredible year, and we’re looking ahead feeling very grateful and inspired.”
Was there anything the industry should have been focusing more on?
“I think it’s brilliant to see the focus on the incredible women who have dominated the music landscape in 2025, but I’d love to see more of a focus on artists from the UK and Ireland leading that. Artists like Olivia Dean and Lola Young, for example, who are successful in the UK but also the US. Also other artists like Little Simz, CMAT, Cat Burns... It’s great and I’d love to see that focus from the UK and Ireland on generating the most exciting talent, breaking through globally and getting recognised for it.”
What was your track and album of 2025?
“I’ve loved Leon Thomas’ song Mutt and Bad Bunny’s Debí Tirar Más Fotos.”
KENNY GATES
PIAS
How is PIAS doing at the end of 2025?
“This has been the year when the ‘new era’ we have talked about really landed, and a big part of that is our relationship with Universal Music Group. We made a pragmatic but important decision to sell the remainder of our shares to them, but the soul of PIAS didn’t and hasn’t changed. Some people have said that once a major label owns you, your values can end up being compromised and history tells us that sometimes it can be the case. But that’s not how we saw it and not how we executed our deal. We made it one of our red lines to retain our cultural and commercial autonomy, and to ensure we remained fully independent in terms of our decision-making. For me, it was always about negotiating our future from a position of strength and gaining more scale, firepower and reach without losing what made the company what it is: our independence, entrepreneurial mindset and commitment to our partners.”
Which campaigns pleased you the most?
“The stand-out one has to be Kneecap. Our team, alongside the Heavenly posse and the band’s manager Dan Lambert, did a fantastic job of weathering a storm of controversy and helped them achieve their deserved international success. We are also very proud of our artists such as The Hives, The Dropkick Murphys and Saint Etienne, and also of our JV with Partisan Records on Geese.”
What were your album and track of 2025?
“Kneecap’s The Recap and Geese’s Getting Killed.”
DELLESSA JAMES
Amazon Music
How did Black music change most in 2025?
“The landscape has seen a seismic shift, but the biggest change is the rise of UK R&B, which has finally claimed its rightful place on the global stage, thanks to artists like KWN, Jordan Adetunji, Odeal, Saint Harison, Jorja Smith, Sasha Keable, Sekou, Craig David and FLO, who landed their first Grammy nod.”
What was your favourite track of 2025?
“There were so many great songs this year, but my favourite is Drake’s Nokia. The track perfectly encapsulates his signature style while feeling remarkably fresh.”
And your favourite album?
“Central Cee, Craig David, Sasha Keable and Dave all offered something distinctly different, perfect for my various listening moods and moments.”
CHARISSE BEAUMONT
Black Lives In Music
What did BLIM do best in 2025?
“Our impact over the past year has been nothing short of remarkable. We delivered Classically Black, the first classical music festival of its kind in the UK. We contributed to the government’s licensing sprint, using insights from our REMEL [Race Equality in Music Event Licensing] research to push for reforms that will finally begin to rebalance a system that has long excluded Black and underrepresented creatives. Participants in our Turn It Up programme stood centre stage at Glastonbury 2025 through Worthy Rise, gaining experience with professional sound teams. Recruiting Classical, our partnership with eight leading orchestras, continues to reshape the sector. Also, at SXSW, we hosted vital conversations about the Black music economy and showcased the brilliance of Black British classical talent. We entered the second year of the Hiring and Recruitment 10-Point Action Plan to transform recruitment across the orchestral and choral sectors. What’s more, our network has now grown to 120 partners, and with the upcoming launch of the REMEL report commissioned by the Mayor Of London and BLIM Connect, our flagship mentoring programme, there is so much more to come.”
What area do you want to see more focus on from the wider business?
“People. It’s time we humanised the industry and start looking after the people that actually make this industry happen. The music business needs to be turned on it head, it needs a reset. Meanwhile, the grassroots organisations and charities doing the real, hands-on work are fighting to survive. We really need to start again.”
What was your track of 2025?
“Odeal’s London Summers should be played all year round, but a notable mention, too, for Golden from K-Pop Demon Hunters.”
And your favourite album?
“Infinite by Mobb Deep. Long live Prodigy. Honourable mention also to Clipse and Wu-Tang Clan and Mathematics.”
TOM LEWIS
Fontana
Jacob Collier won another Grammy in 2025 – do you think he gets the credit he deserves as a UK talent?
“It was such a thrill to celebrate another win for Jacob at the 2025 Grammy Awards. He’s won seven Grammys and received 16 nominations. That puts him comfortably inside the Top 10 of British artists and he’s the first British act to win a Grammy for every one of his first five albums. It’s great to see him nominated again for 2026. For Jacob, this year saw the continuation of his sensational global tour, the recording and release of a radically different and beautiful new album, the launch of three signature guitars and his first-ever Hideaway Retreat, a four-day creative workshop in New York. His energy, imagination and creative optimism are breathtaking. He is without question one of the UK’s most inspirational musical and creative ambassadors.”
What was your favourite track of 2025?
“Jacob Collier – Heaven (Butterflies). A beautifully delicate new dimension from Jacob!”
And your favourite album?
“Dodie’s Not For Lack Of Trying. We are so thrilled that Dodie has joined us at Fontana. Her album is somehow simultaneously warm, charming, cool and deep – like her.”
SAM SPENCER
Atlantic
Charli XCX was huge in 2025, from the BRITs to Glastonbury. How do you sum it up?
“It was certainly a year where Brat lived on. With five BRITs, three Grammys and the most talked about performance of the weekend at Glastonbury, Charli has brilliantly played with the tension of, ‘How much Brat is too much Brat?’ this year. It all culminates with the drop of her movie The Moment in January, which promises to be a must-see for any Charli fans.”
What was your track of the year?
“Fred Again..’s Victory Lap with Skepta and PlaqueBoyMax. Watching it come to life in New York, from Twitch stream to the club, felt like a real moment.”
And your favourite album?
“Olivia Dean’s The Art Of Loving.”
NUR ÖZDAMAR
YouTube Music
What was the hardest challenge of 2025?
“The mandate for every artist to effectively become a high-volume creator. It’s not enough to release a great album; the real test is the creative consistency needed to succeed, and the challenge is elevating the bar without sacrificing the authenticity that makes the music powerful in the first place.”
What was your favourite track of 2025?
“Justin Bieber’s Yukon. As a long-time Bieber fan, it gives me a lot of joy. I love the video.”
And your favourite album?
“Bad Bunny – Debí Tirar Más Fotos. It’s a beautiful homecoming album.”
CHANTAL EPP
ClicknClear
How did your entrepreneurial skills sharpen in this, the same year that you won the Entrepreneur honour at the Music Week Women In Music Awards?
“This has been my most exciting and most challenging year yet. We grew the team, expanded our market, finally got all of the major labels and publishers on board and built new technology that will help us open up another adjacent market within sports. I feel like I grew as an entrepreneur, became more resilient, more strategic and even more focused on delivering our mission.”
Does the music industry celebrate entrepreneurs enough?
“It depends on what you define as an entrepreneur. Our industry is full of entrepreneurs from self-releasing artists, to founders of labels and publishers and tech innovators. I don’t think this widespread spirit is recognised enough within and outside our industry.”
Finally, what was your favourite track and album of 2025?
“I don’t get much time to listen to music without my three-year-old, so you’d likely just find a mix of Disney on my Spotify, but my favourite song this year is Golden [by Huntr/X]. [For album] Play by Ed Sheeran.”
CHARLIE HEDGES
BBC Radio 1
Where was the best place for dance music in the UK in 2025?
“I loved playing TRNSMT Festival in Glasgow this year: good vibes, great music and one of the most fun sets I played in 2025!”
What was your track of the year?
“MK and Chrystal – Dior. It was everywhere, I played it every week for ages on Dance Anthems on Saturday afternoons!”
And your favourite album?
“Chris Lake – Chemistry. A proper summery album. Good sunset vibes, too.”
WEZ SAUNDERS
Defected Records
How has the first full year of your partnership with Warner Chappell gone?
“Really positively. It has allowed our publishing arm to scale globally while protecting its culture and independence. Warner Chappell have been incredibly supportive in helping us open new doors and we’ve been able to amplify our writers’ and catalogue reach without losing what makes us unique. It feels like a proper partnership.”
How are you building on the recent commercial success for dance music?
“We’ve stayed focused on what really matters: great records, less is more, genuine culture and long-term artist development. While the scene continues to evolve, Defected’s strength has always been consistency and community. We’ve modernised how we deliver music and experiences, but never at the expense of authenticity. The key has been balance: embracing innovation while keeping the soul of house music intact. We have had another great year of records.”
What’s your track of 2025?
“Jonas Blue & Malive – Edge Of Desire. It’s one of those records that works equally well in a club and on the radio, it is timeless but forward-facing. It reminds me of why I fell in love with dance music in the first place.”
And your favourite album?
“Dave’s The Boy Who Played The Harp deserves all of its accolades. Working with Nicole Blakk, who we represent for publishing and neighbouring rights and appears on Fairchild, has been a dream.”
MOFE SEY
Satellite 414
What did it mean to be stood up on stage with PinkPantheress (above), an artist you’ve championed since the very start, at our Women In Music Awards to celebrate your Rising Star win?
“It meant everything! We have navigated this industry together alongside her incredible manager Phoebe Gold; it felt like a real reflective moment. I remember when I first met them I said that I always had a long-term plan in mind… I never thought that would include me being recognised as a Rising Star with her by my side!”
What was your favourite track of 2025?
“Jim Legxacy – 06 Wayne Rooney. Everything Jim’s doing for the UK underground scene is great, it seems so well thought out. This song transports me back to being nine years old again, global warming hasn’t affected us just yet, Freddos are 5p… you get the picture.”
And your favourite album?
“Swag II by Justin Bieber. A great album. I mainly want it on record that I’ve been a Belieber for 16 years now. Also Ego Death At A Bachelorette Party by Hayley Williams is her strongest solo work to date, both lyrically and sonically.”
CHAR GRANT
Babychild Music/The Black Music Coalition
What was the best example of creativity you saw in 2025?
“DJ AG. He has provided artists with an invaluable platform, built community, amassed a large global following and managed to keep it exciting for artists and audiences.”
In terms of cutting through this year, what did artist campaigns need to do?
“Break their promotional and visual content down into 5,000 puzzle pieces and drip-feed their audiences to form the whole.”
What was your track and album of 2025?
“My track is Folded by Kehlani – the song that keeps on giving. Home? by Wretch 32 was easily my most enjoyed album this year. It feels and sounds like my childhood.”
MATT RILEY
AWAL
You became president of AWAL this year, what’s your vision for the company?
“We want to be right by our artists’ sides, maximising their potential and helping them be the best they can be. We want a culture that delivers creativity and curiosity as we continue to push AWAL forward.”
Were there any big lessons in terms of artist development this year?
“There are no cheat codes or short cuts; it’s about getting alongside incredible talent and being patient, backing the artist all the way and being ready to jump on the opportunities.”
What was your track and album of 2025?
“I’ve been enjoying Erin LeCount, the music is really special – check out Marble Arch. Also, CMAT’s Euro-Country; it has so many levels and is an all-time classic album!”
SARAH GABRIELLI
Sony Music Publishing UK
What excited you most as an A&R this year?
“It has been incredible to see the plethora of talented new artists that are self-taught and developing their own sound and brand. Two to mention here are Olivia Dean and Jim Legxacy. His mixtape Black British Music (2025) really pushed boundaries.”
What was your track and album of 2025?
“I can’t pick only one! So I have to narrow it down to three: Shell (Of A Man) by Saya Gray, 12 To 12 by Sombr and Olivia Dean’s So Easy (To Fall In Love). My album is Geese’s Getting Killed – unreal production and delivery.”
ALICE FROST
ADA
In your opinion, how were long-term campaigns built best in 2025?
“The difference between a successful, long-term campaign and a viral moment all comes down to how you engage with the audience. It’s important to transform passive listeners into an active, dedicated community. They need to feel invested in the campaign, and this should naturally lead to them becoming promoters themselves, shifting the focus to engagement over pure reach.”
Can you share something new that you learned about the industry this year?
“If you think it’s going to be a hit, it probably isn’t.”
What was your track of 2025?
“Blackoak by Maribou State.”
And your favourite album?
“Malik by Venna and A Fine African Man by Knucks. Two truly talented and unique artists with real cultural cut-through.”
TOM GRAY
Ivors Academy
What has the agreement on per diem payments meant for some of your members in terms of a financial lifeline?
“Not long ago, songwriters in the UK were paying to be in the room, travelling to label writing sessions in the faint hope of future royalties and going home poorer than when they left. For labels to cover per diems and travel is now the bare minimum. These are dignity payments, and they make a real and immediate difference, especially if you’re independent, starting out, a parent or carer, based outside London, not from a wealthy background, or facing any barrier to paying for opportunities from your own pocket. It means that songwriters are equal professionals to the performers and executives in the room. I know that for some it has been the difference between being able to stay in the profession or not.”
What was your track of the year?
“Love Takes Miles by Cameron Winter. This came out in December last year, so couldn’t make it into any lists. It is, however, the song I have listened to most over the past year, so that’s that. Rules were made for breaking.”
And your favourite album?
“Madison Cunningham’s Ace. I could have been a predictable indie dad and followed choosing Cameron by saying [his band] Geese, but Madison is about as good as it gets right now in terms of making music that satisfies both soul and intellect.”
LUCY DANN
Island EMI Label Group
What did you learn as a marketeer in 2025?
“It’s all about consistency – the old principles of music marketing don’t change, but the platforms and tech do.”
Can you tell us the best marketing trick you saw this year and loved?
“It’s the first year in ages that it feels like consistent strategy and artist creative are front and centre.”
What was your track of 2025?
“Sekou – Catching Bodies. It can make my whole young family dance in the kitchen, even during our very early wake-ups!”
And your favourite album?
“Lola Young – I’m Only F**cking Myself. Every track feels like a whole new experience. Such a good album from beginning to end – it makes me excited about British talent.”
JASON RACKHAM
PIAS
How has the new Integral partnership with Virgin Music Group developed?
“It is still early days, but it is developing as we hoped. The Integral and Virgin teams have been working hard on combining their operations and services offering, which of course always has its challenges, but the collaborative spirit and the joining of two exceptional teams with their areas of expertise, plus the expanded global reach, is proving to be a great, supportive and proactive partner for labels and artists.”
Kneecap had a year of controversy and huge shows, including Wembley – what was it like to be part of that as their label partner?
“Kneecap are fearless, outspoken and completely authentic – qualities that naturally attract both admiration and criticism. Watching them sell out major venues, including OVO Wembley Arena, while staying true to their identity has been incredibly inspiring and a reminder of why we support artists who push culture forward, challenge assumptions and have a real passion.”
What were your track and album of 2025?
“Geese – Au Pays Du Cocaine. They are the most exciting band on the planet right now, and this song is transcendental. My album is Olivia Dean’s The Art Of Loving. Messy, her debut, was my 2023 album of the year, and she has taken it to another level here.”
EMMANUEL DE BURETEL
Because Music
Congratulations on 20 years of Because Music. How would you quantify the label’s impact on the independent sector over two decades?
“We’ve proved that artist development remains at the heart of everything. It’s about aligning recording, publishing, live production and performance, marketing and streaming to build an artist’s career on a global scale. We have the ability to oversee and drive every aspect thanks to the expert teams we’ve built across all sectors. To succeed internationally, we have to be extremely selective and focused – especially when we’re pushing new and different creative directions. We’ve achieved excellence across multiple sectors, from live to recording and publishing. The success of Justice’s tour and Grammy recognition, or the Because Beaubourg event, are all the results of these coordinated efforts.”
Can you sum up 2025 for the indie sector in one word?
“Unite – especially when facing giants.”
What was your track of 2025?
“Justice’s Neverender – it represents a long and dedicated work process, with teams from all over the world collaborating to create a truly successful track.”
And your favourite album?
“Oklou has delivered a beautiful and singular record with Choke Enough, which broadens her international reach. She is a genuinely unique artist.”
AFRYEA HENRY-FONTAINE
The Black Music Coalition
Who inspired you most this year?
“Jade Richardson was one of the executives that made me realise my goals were possible. For her to win Music Champion at the Women In Music Awards this year felt powerful – Jade has continually followed her gut and kept pressing forward even when the work had no thanks or recognition. She is one of the first female A&R leaders in the industry and her legacy is strong.”
How did the BMC evolve in 2025?
“In celebration of our fifth anniversary, we built practical interventions such as scholarships, internships and strategic partnerships that have opened real pathways into the industry. The launch of a first-of-its-kind, two-year internship with Universal Music shows our commitment to shaping culture, removing barriers to entry and shifting the systems that support the sector. Our focus is firm and we will keep pushing for long-term change across the industry.”
What was your track of 2025?
“Not Like Us by Kendrick Lamar. Beyond the headline moment, the song captured something raw and uncut about community pride and artistic freedom.”
And your favourite album?
“It has to be Love On Digital by Destin Conrad. The songwriting, tone and atmosphere he delivers are incredible.”
ROBERTO NERI
The Ivors Academy
What does it mean for artists to be recognised for their songwriting at the Ivors?
“The power of an Ivor Novello Award lies in its history, integrity and its unshakeable focus on songwriting and composing. Being recognised not for performance, fame or commercial success, but for the writing itself, cuts right to the heart of why they make music. It means a huge amount to them, but it also means a great deal to their fans, to the Academy and to our members. These moments reinforce why songs matter, why the people who write them matter, and why protecting, empowering and celebrating that craft is at the centre of everything we do.”
How did you manage to secure government backing for your proposal on per diem payments for songwriters from labels?
“By demanding something so reasonable, so overdue and by being absolutely determined to secure it. It was an incredible moment where many forces aligned. The public calls from acclaimed songwriters helped cut through. Years of lobbying by our chair Tom Gray and persistent, targeted campaigning by The Ivors Academy finally created the momentum needed. I must thank the then Culture Minister, Chris Bryant – he understood why per diems matter. It showed what can be achieved when songwriters speak out, the government listens and the industry is prepared to act.”
What was your track of 2025?
“Messy by Lola Young hit the industry and public hard when it came out. It’s so raw, simple, honest and clever.”
And your favourite album?
“Self Esteem’s A Complicated Woman and Kae Tempest’s Self Titled have been on heavy rotation all year, but recently joined by incredible albums from Lily Allen, Dave and Rosalía. The album is here to stay.”
IAN DUTT
The Orchard
Raye returned with another big hit this year – what are your expectations for the campaign from here?
“As you would imagine, our expectations are sky-high. Where Is My Husband! is a fantastic start and the global results so far are exactly where we wanted them to be, but there is a huge amount to come.”
The Orchard Physical European Network launched recently – how will this expand your offering to artists and labels?
“The OPEN launch has created an incredibly robust offering for an important part of our business, offering efficiencies and stability for all of our clients.”
What was your track of 2025?
“It’s a tie between Fred Again.., Skepta & PlaqueBoyMax’s Victory Lap and Raye’s Where Is My Husband!.”
And your favourite album?
“I’m assuming I can’t go for a reissue, otherwise it would have been the Oasis (What’s The Story) Morning Glory? 30th-Anniversary Edition. So I’ll go for [Bad Bunny’s] Debí Tirar Más Fotos. It’s only a matter of time before he conquers the UK.”
EMMA-LEE MOSS
ESEA Music
Can you sum up ESEA Music’s role in the industry?
“I hope people can feel the joy coming out of our community, and see how creativity and self-expression thrive in a space that is supportive and founded on togetherness, not competition. For me, it’s an example of how artistic freedom is always a good thing. If you empower people to follow their instincts, they make their best work.”
How will you look back on 2025 personally?
“It was a lovely thing when we found out about [winning the Women In Music DE&I Initiative] award. I enjoyed the ceremony too, it was a really positive atmosphere. I get emotional when people get standing ovations, so I had a lot of tears, especially during FKA Twigs’ speech. I also saw Ani DiFranco live at the Royal Albert Hall and had a mini spiritual awakening.”
What was your track and album of 2025?
“Two songs I’ve played on repeat are Kai Wei’s Serendipity Is A MF, and also Kathryn Williams’ Sea Of Shadows – it’s one of my favourite songs of all time. [For the LP] Lily Allen’s West End Girl. I haven’t listened to an album on repeat like that since I was a teenager.”
DARI SAMUELS
BBC Radio 1Xtra
Earlier this year you spoke to Music Week about the need for 1Xtra to evolve with the times – how did the station change this year?
“I’m proud that this year 1Xtra has found effective new ways of bringing artist fanbases together to champion everything from key music releases, like 1Xtra’s Album Launch Parties with AJ Tracey and Tiwa Savage, and the Dave Album Listening Party, to stunning festival performances by international superstars, like the 1Xtra Salutes... Headliners’ week. And we continued to celebrate Black music’s rich heritage with 1Xtra’s Throwbacks Weekender. Throughout the year, we also enhanced our on-the-ground coverage of cultural events including Notting Hill Carnival, The MOBO Awards and City Splash Festival.”
Which Black music success story impressed you most this year?
“Dave’s The Boy Who Played The Harp becoming his third album in a row to debut at No.1 in the UK charts.”
What was your track of 2025?
“Donae’O feat. Omar, Lemar & The House Gospel Choir – Nights Like This. It’s a joyful song with a retro twist and I’ve had it playing on repeat for weeks.”
And your favourite album?
“Little Simz’s Lotus. This deeply personal album was brave and refreshingly honest.”
JULIE WEIR
Music For Nations
There was more mainstream success for heavy music in 2025, what do you put that down to?
“In the times we are inhabiting, the heavy music world offers an exceptionally friendly and open safe space – and one with storytelling, escapism and community. A sense of belonging… Add in a lot of shows being on an experiential level now, such as Bring Me The Horizon’s amazing immersive production and Sleep Token’s myth building of their own universe, and there is something here more than music alone. It has its own culture and lifestyle, and leans into world building. This can be sustained by continuing to provide safe spaces and grow a sense of community. Storytelling narratives can also be expanded – not to mention the cultural capital and IP around them.”
What was your track of 2025?
“Witch Club Satan – You Wildflower. I saw the band at Roadburn and have since seen them a few times now; I am blown away by their creativity, fearlessness and overall powerful aesthetic. They are truly a force to be reckoned with.”
And your favourite album?
“Maruja – Pain To Power. A smart yet simple album – deep sounds and feeling, but with positive messaging about peaceful protest and people coming together. The band are
a complete breath of fresh air, both on record and live.”
TRENTON HARRISON-LEWIS
ADA
In terms of the UK market, what stood out to you this year?
“I was very excited by the emergence of so many compelling new artists in the UK rap space this year.”
And what has 2025 taught you?
“As the business continues to rapidly evolve, artists must do more than just produce great music. Those not getting deeply involved with every aspect of their career are putting themselves at a disadvantage compared to those who embrace the business side.”
What was your track of 2025?
“Skye Newman’s My Addiction. The song is a reflection of her personal story, and I felt it had the potential to resonate with many young women in similar positions. Honest storytelling is the sign of a real artist.”
And your favourite album?
“Central Cee’s Can’t Rush Greatness. Cench always tells it as it is – that authentic approach is just how he operates, and that is exactly how a real artist should be.”
ANDREA CZAPARY MARTIN
PRS For Music
Collections from the video game sector surged in the previous year – what’s your expectation about further growth in this area?
“Great soundtracks are essential to the immersive power of gameplay. This is also a crucial revenue stream that we’re unlocking for PRS members, and we predict landmark royalty collections from this sector in the coming years. Beyond the US, music licensing in video games is something unique to PRS, and as music in gaming continues to evolve, we are staying ahead of the curve by engaging with composers who specialise in scoring for video games and agreeing new licensing models with key players in the market.”
How are UK songwriters performing globally – is that driving your growth in international collections?
“In the last decade, royalties from overseas have increased by 80%. Songs written by UK music creators are loved the world over – from Americana to bhangra and reggaeton, to writing for K-Pop and Eurovision artists, PRS writers are credited on some of the globe’s most successful songs.”
What was your track of 2025?
“Survive by Lewis Capaldi. To hear the song for the first time at Glastonbury alongside an audience of 100,000, and still seeing the words emotionally connect to every person for different reasons, was really inspiring.”
And your favourite album?
“Sam Fender’s People Watching. His Mercury Prize win also highlighted the importance and impact of funding, with seven of the last eight winners receiving PRS Foundation support over their career journeys.”
