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 Alec Boateng, Kanya King, Martin Mills, Negla Abdela, Kim Frankiewicz, Peter Leathem and more...
ALEC BOATENG
0207 Def Jam
How would you sum up 2025 in UK rap?
“Dizzee Rascal said something that I thought was so poignant, that you don’t measure jazz by its chart success. That’s so spot on when it comes to rap. I’ve been lucky enough to work with a couple of generations of artists now, and I think there’s always this reset. The last time it felt like this was 2013/14 – there was the rush of Tinchy Stryder, Tinie Tempah, Wretch 32 having success, and then it went a bit quiet from a chart perspective, but a couple of years later, there was this kid called Stormzy. There was AJ Tracey, Novelist… and a new generation coming through.”
So more success is on the horizon?
“Our job is to allow talented MCs to become great artists. But you’ve got to come across people that have the ambition to do it, and just be patient, you know? With the new Dave album, there’s no coincidence that someone like [co-manager] Benny Scarrs, who worked with Tinchy, understands how to deliver that into the market. It’s not hit hunting or chart chasing, it’s just cycles.”
What was your favourite track and album of 2025?
“DameDame – Promise. I’ve just played it loads and loads. My album has to be a tie between Dave and Lily Allen. Those albums feel so like home to me. Timeless.”
KANYA KING
MOBO
This year saw the 27th edition of the MOBO Awards. How do you look back on the year in Black music?
“Black music has always been a major cultural force, but this year really stood out. People are reshaping genres, owning their narratives and finding new ways to tell their stories. What I’ve enjoyed most is the mix of voices breaking through, established names pushing things forward and independent artists showing what’s possible when you have vision and control. That spirit is exactly what made this year’s MOBO Awards feel so special, and it felt good to have all of that energy celebrated on the MOBO stage.”
What did it mean to be honoured by The Ivors Academy this year?
“Being recognised by The Ivors Academy was incredibly touching. It made me pause, not just to reflect on my own journey, but on the countless people, communities and creatives who have fuelled my drive from day one. Any impact I’ve had is reflected in the talent we’ve championed and in the younger generations who tell me that MOBO helped them believe there was a place for them in this industry. That’s what means the most.”
Can you tell us your track of 2025?
“I have to celebrate MOBO’s Song Of The Year winner: Darkoo and Dess Dior’s Favourite Girl. It’s confident, catchy and captures the energy of where Black British music is right now.”
And your favourite album?
“I’m loving Olivia Dean’s The Art Of Loving. It’s warm, honest and beautifully crafted. She has this rare ability to write in a way that feels intimate without ever straining for effect, and the entire record lingers with you long after it ends. It’s no surprise she’s had such a stand-out year and this album is a big part of why.”
ALEX OMISESAN
Late Bloomer Consultancy
What did 2025 teach you?
“When you are independent, you are essentially thrown in at the deep end with two choices: sink or swim. So I don’t know that I know anything different, but my biggest thought is on the rise of AI and just how that is going to impact the business. My objective is to view AI not as a threat, but as a tool, and I would implore all artists to do the same.”
How did UK rap change this year?
“Rap has always been unapologetically different, but recently I have found that it has become boring and, dare I say, a bit predictable. That said, I still think there is an opportunity for rappers to stand out by taking it back to the essence and the artistry.”
What was your favourite track and album of 2025?
“The song of the year is Kwn’s Worst Behaviour, feat. Kehlani. To see another UK artist involved in the R&B revival is really exciting. My album of the year is Dave’s: proof that no matter what is going on, true artistry always wins. A big win not just for UK rap, but rap all over the world.”
ANNABELLA COLDRICK
Music Managers Forum
How has the first year with the new leadership team at the MMF gone?
“Fast! So much has happened and the new team have brought new priorities, such as our focus on alternative finance and our renewed membership structure to meet managers’ needs at different career stages.”
How significant is the MMF’s new training & development programme?
“It’s groundbreaking. To our knowledge, the MMF Manager Certification is the first formal validation of managers’ core knowledge in the world. We hope it will become a real desired standard.”
What was your favourite track and album of 2025?
“The NewDad single Everything I Wanted and Wet Leg’s Moisturizer. No difficult second album for them, but a great creative step forward.”
NEGLA ABDELA
Ministry Of Sound
What was the biggest show of strength in the UK industry this year?
“For me, it’s been watching UK talent thrive globally. There’s a real sense of momentum behind British artists right now: they’re connecting with audiences far beyond the UK and doing it on their own terms. This year saw UK artists dominate international charts, with the likes of Central Cee, Raye and Myles Smith breaking new ground. It’s been amazing to see that impact, especially when it’s driven by authenticity and creative risk-taking.”
What was your track of 2025?
“Tate McRae’s Sports Car! She keeps levelling up with every album campaign: the songwriting is sharper, the visuals are stronger and her confidence is just undeniable.”
And your favourite album?
“It’s a tie between Doja Cat’s Vie and Dave’s The Boy Who Played The Harp."
PAUL HITCHMAN
AWAL
How did Laufey find a path to mainstream success this year?
“Laufey has never limited herself to being a niche artist and while she celebrates her jazz and classical influences, she has always welcomed a very wide audience. She is brilliant at engaging with them and bringing them into her world, something that we have worked hard to facilitate with her and her team. At AWAL we are often working with artists who are a little left of centre but we don’t let that affect our ambition for an artist.”
Can you share your top track and album of 2025?
“Luvcat had several stand-outs, including Lipstick and the new version of He’s My Man featuring John Cooper Clarke. In terms of albums, I’ve been getting into Geese’s Getting Killed. It just doesn’t sound like anything else today and reminds me of classic originators such as Tom Waits and Captain Beefheart.”
MOLLY NEUMAN
CD Baby
What was the main reason to be cheerful in 2025?
“As a music fan, Oasis brought me the most joy this year. When I saw them the first time in 1996, I already felt like I was late to the party, but having seen them many times over the years, this show really brought the celebration and love that songs and live music can generate. With so much of my professional life focused on industry dynamics, technological developments and their impact on music creation and listening, reconnecting with guitars, drums, voices and the alchemy created in a live space was a much-needed spark.”
And your own biggest personal success?
“I’m really proud of the work we have done at CD Baby towards a repositioning of the company in 2026. Having been in business for nearly 28 years, it took a great deal of work to pause and inventory the things being done that might be reconsidered, and the things we can do if we reorient our work towards being more in service of our artists and their ever-changing needs. I’m also proud of having found time to play music myself, to spend time with my friends performing and, more importantly, laughing a lot.”
What was your track of the year?
“Cradle The Pain by Morgan Nagler.”
And your favourite album?
“Ego Death At A Bachelorette Party by Hayley Williams.”
NADIA KHAN
CTRL Music/Women In CTRL
The Seat At The Table initiative aims for gender-balanced leadership by 2030 – is it on track?
“This year we released the first Seat At The Table report with LIVE and the findings were clear. There is momentum in certain areas, but women are still underrepresented in senior leadership and boardrooms. We also launched the 2025 LIVE Inclusion Pledge, through which LIVE industry organisations made commitments to concrete actions on governance, recruitment, progression and data transparency. It is an essential step. However, the sector will need consistent follow-through to stay aligned with the 2030 ambition.”
What’s next for Seat At The Table?
“Seat At The Table returns in 2026 with a new report in partnership with the BPI. This edition will widen the scope again and provide a cross-industry view of representation, progression and leadership. We are also working on an accredited inclusivity leadership programme, and a new platform to share insights, guidance and learnings from our work across the industry.”
What was your favourite track and album of 2025?
“Akhir Sarkha by Seera, my new signing, a four-piece, all-women psychedelic rock band from Riyadh. My album is That’s Showbiz Baby! by Jade: explosive, fun and confident, with a sharp edge.”
PETER TAYLOR
Cuffe & Taylor
How was the year in live music for you?
“It’s been an amazing year, our best ever. We sold more than one million outdoor tickets across the UK, the highest number in our history. We also opened new sites in Cardiff at Blackweir Fields and in Exeter at Powderham Castle. Both are 35,000 capacity and involved a huge amount of work. Alongside that, we’ve strengthened our existing partnerships, including The Piece Hall in Halifax and with Forestry England on the Forest Live series. Our customer service team has been hard at work enhancing customer experience and the proportion of customers using public transport to access our events increased by almost 10%. Accessibility has also been a key focus across all of our sites, and we’ve seen double-digit improvements in our satisfaction scores.”
What was your favourite track and album of 2025?
“Where Is My Husband! by Raye – it’s just a brilliant song and I expect it will become an anthem of 2026. My favourite album was Teddy Swims’ I’ve Tried Everything But Therapy (Part 2). Did I mention I’m promoting his outdoor tour in the UK next year?! It’s an incredible album and I can’t wait to see what he’s got planned next.”
ALEXI CORY-SMITH
Bella Figura
What did you make of the way the industry harnessed the power of catalogue this year?
“Boiling it down to Bella Figura’s perspective, streaming consumption is up massively. For example, David Gray’s Spotify listeners have doubled since we started working his catalogue.”
And what took you most by surprise in the business this year?
“Oasis not cancelling their tour?!”
Can you tell us your track of 2025?
“At the risk of sounding like a chancer, David Gray’s Babylon.”
And your favourite album?
“West End Girl by one of my favourites, Lily Allen. I am not telling you why.”
RYAN TEDDER
Artist, songwriter
What was your favourite track and album of 2025?
“Back To Friends and I Barely Know Her by Sombr. I just think Sombr is phenomenal – a young artist who does 100% of his own shit. When I listen, I can hear the code cracking in his head where he’s like, ‘Oh my God, I understand how to make hits!’. You can just feel the level of excitement that he probably had in that moment. Sombr, really, out of all the new artists that have popped on the scene, has just impressed the shit out of me.”
EMMA BOWNES
The O2/AEG Europe
Earlier this year, you told us you were concerned that genuine fans will be priced out of seeing the artists they love. Is this still the case?
“Yes. Increasing touring costs and ever improving standards in show production – which come at a price – combined with an increasing demand for VIP packages all contribute to some fans being priced out of the opportunity to see the bands they love.”
What do you know about The O2 that you didn’t know in January?
“We have an urban garden at The O2, which is home to 30,000 bees that make very nice honey.”
What were your track and album of 2025?
“Ring Ring Ring by Tyler, The Creator and its parent album, Don’t Tap The Glass. I love the ’80s disco and funk vibe on Ring Ring Ring, and also the landline tone! His performance was one of my favourite shows at The O2 this year. I love the whole album from start to finish; I just wish it was a bit longer.”
CLARE BYRNE
Big Brother Recordings/Ignition
What has it been like to be part of the Oasis Live ’25 campaign?
“This year has been just epic for us all. With all the organic fan moments, mass crowd sing-alongs and the flooding of UGC on socials, the reactions and sentiment have been incredible. Seeing what Oasis mean to people and the emotional connection of fans of all ages has been very powerful. The momentum around the band went from strength to strength as it progressed, and we’ve seen an unprecedented response in some territories, particularly the US. Our strategy to bring Oasis Live ’25 to as many fans as possible digitally has been reflected by an immense streaming surge that sustained throughout the year. The band’s Spotify monthly listeners peaked with a 35% increase around the tour and more than 50% of user discoveries in July were by Gen Z fans. It was brilliant seeing the Time Flies… album return to No. 1 twice, but the highlight has to be the weekend of the first Manchester shows with three albums in the Top 4 and three singles in the Top 20. Celebrating the 30th anniversary for (What’s The Story) Morning Glory? concurrently with the tour was massive, and Noel and Liam’s impromptu decision after the first show to release a live track from each city across the UK and Ireland leg kept us busy! The positivity and goodwill we’ve experienced across the industry has been very special.”
Can you let us in on any further plans for the Oasis catalogue?
“There’s so much of the incredible later catalogue we’re focused on spotlighting. We’ve had a great team on the road documenting the reactions in each city, which has been a huge driver. We have a huge bank of fresh content and we’re working on long-term plans to preserve the legacy of this historic tour.”
What was your track and album of 2025?
“Haim’s Relationships was great. I’ve been a fan since they played with Primal Scream at Glastonbury. And I haven’t heard anything like Geese’s album for some time. Intense, layered, thought-provoking.”
JEFF SMITH
BBC Radio 2 & 6 Music
What did Radio 2 and 6 Music do best this year?
“Music was at the heart of everything they did, such as 6 Music’s Artists Of The Year, which featured the likes of Blood Orange and Kae Tempest, and newer acts like Geese and Jacob Alon. Radio 2’s Piano Room Month had everybody from Coldplay to Elkie Brooks, Mica Paris and Teddy Swims!”
What did you learn from the 2025 Mercury Prize?
“I saw the power of music to move people live as we took the show outside of London for the first time. The love for all the artists that played in Newcastle also underlined the amazing value of albums as bodies of work by incredible artists from across the UK.”
What was your favourite track and album of 2025?
“Sally, When The Wine Runs Out by Role Model, and Olivia Dean’s album.”
ANNA-SOPHIE MERTENS
Live Nation
What has the reaction been like to winning at the Women In Music Awards this year?
“The feedback has been really moving. A lot of people have shared how important it was to highlight the support needed for parents, especially mothers, in our industry. They felt seen, and that’s exactly why we need to keep pushing for positive change. I also received a lovely message from a father in the industry who shared my interview with his daughters to show them that being a mother in this field is achievable. It shows you just how important representation really is.”
How proud should the live sector be of 2025?
“Immensely. It has been a huge year for touring and artists delivering at the top of their game. On a personal note, having worked with Lewis Capaldi from the very beginning, seeing his comeback at Glastonbury, which led to a sell-out UK tour this year and an outdoor run in 2026, was pure joy and easily the most inspiring moment of my career.”
What was your favourite track and album of 2025?
“The Stand By Me cover by Stephen Wilson Jr gives me goosebumps every time. My album is Lux by Rosalía. What a record. It can move you like nothing else out there at the moment.”
KIM FRANKIEWICZ
Concord Music Publishing
Fraser T Smith was among a raft of Concord signings in 2025. What do you think is drawing writing and producing talent to your stable?
“I would like to think this is happening because Concord’s worldwide A&R team has a great reputation of working closely with their songwriters and producers.”
Which songwriting or publishing trends caught your attention this year?
“The one trend I have noticed of late is that people are starting to listen to albums again and not just a few songs. Both Olivia Dean and Lily Allen’s albums are an example of this.”
What would you say was your favourite track of 2025?
“Olivia Dean’s Man I Need, a great, evergreen song. It is great to see the huge worldwide success this track is having. It’s fantastic for the UK music industry!”
And how about your favourite album?
“Lily Allen’s West End Girl is a very brave and great album. I think the best thing about it is that people are listening to the record in its entirety.”
BOB WORKMAN
WMX, Warner Music
What did 2025 teach us about the importance of brands to artist campaigns?
“The Adidas x Oasis campaign reminded us all how simple, effective and visually elevating a brand collaboration can be if it has deep roots, and naturally matches the aesthetic and personality of an artist. It has been an unparalleled joy to be involved in this.”
How did your own work in this area move forward this year?
“We have doubled down on design collaborations, with Ed Sheeran x FC Barcelona x Spotify, Griff’s excellent on-going work with Asics, and in the US, our second Grateful Dead x Nike licensed collab, being just a few of many examples. We think very carefully about audience and brand fit, but also audience growth with the opportunity to surprise the market with something unexpected.”
What was your favourite track of 2025?
“Sombr 12 To 12.”
And how about your favourite album?
“Wolf Alice – The Clearing. It took me a stupid amount of time to properly focus on this incredible band, but I am now fully on board. Great songs, and one of the best lead singers around. A good friend introduced me to this album during a Californian road trip!”
LEANNE MISON
ESEA Music
How did ESEA further its mission in 2025?
“It’s been a year of real momentum, from mentorship and writing camps in London and Lisbon, to collaborations with Beatport, Warner, Downtown Music, UMG, Sony and the BPI. We’re also really excited about Wet Market, the new left-field British-Asian collective formed through an ESEA Music writing camp.”
What was your personal highlight of the year?
“Being recognised at the Music Week Women In Music Awards and the AIM Awards for our SESAME Mentorship Scheme. It meant a lot to everyone who’s built this community from the ground up.”
What was your favourite track and album of 2025?
“The song Escarbo Dimensiones by Titanic has a searing emotional pull, and my album is The Passionate Ones by Nourished By Time.”
MARTIN MILLS
Beggars Group
Beggars celebrated its 49th birthday in 2025. How do you reflect on its impact in that time?
“The party reminded us that our 49 years have been spent in the company of a wider community that came together to celebrate and re-connect.”
Can you sum up how 2025 has been for the independent sector?
“Confused, given that not only traditional indie labels but also aggregators and even divisions of Universal are apparently indie these days.”
What was your favourite track and album of 2025?
“Lisa O’Neill’s The Wind Doesn’t Blow This Far Right. A song for the times. And Big Thief’s Double Infinity. The band for the times.”
GEE DAVY
AIM
Tell us the highlight of your first year as AIM CEO?
“Having the opportunity to push forward a range of collaborative projects and seeing their impact – from our work with the Creative Rights In AI Coalition, resulting in a change of direction on AI policy for the creative sector, to sharing expert knowledge via our programming at The Great Escape in collaboration with the FAC, MMF, MU, the Ivors and MPG. We also programmed the first Above The Noise conference in partnership with Bristol Beacon, along with many other collaborations throughout the year to help independents find capital, knowledge and success.”
How is the indie sector holding its own in terms of UK market share?
“Through sheer hard work, expertise and investment in some of the country’s most exciting and groundbreaking creative talent. We know from government reports that this produces better outcomes for artists, and it shows. Top 10 albums this year for independents included Domino, Young, Ninja Tune, LAB, Transgressive, Jagjaguwar, Cooking Vinyl and many more. It’s telling that we saw lots of newcomers in the industry coming through in the lists for our 15th anniversary edition of The Independent Music Awards this year. Data shows it’s harder and more costly to get a release to break even and for artists to break through, and that UK growth has slowed dramatically. It’s a labour of love for independents and grassroots communities to see the successes they are having. We will need to see additional support from the government for small businesses and entrepreneurs creating and releasing music, as well as a healthy, open market to continue to develop great new music.”
What was your track of 2025?
“Man from neo-soul act MRCY, released by Dead Oceans. Is it soul? Is it jazz? Either way it’s joyous.”
And your favourite album?
“Product, posthumously released for Sophie by her collaborator and brother, Benny Long, working with Transgressive Records.”
CAM PIA
BBC Radio 6 Music
What do you feel 6 Music did best in 2025?
“One of the best parts of my job is giving artists a platform to tell their stories – we do it every day at 6 Music, it’s part of our DNA. And a highlight from this year was CMAT’s Artist in Residence: AAA – four radio shows and a film which saw her digging into her creative process with her producer Oli Deakin. It dropped on iPlayer and BBC Sounds at the height of CMAT summer and was an incredibly special insight into her songwriting genius and her exquisite taste – plus a bunch of iconic screaming.”
What was your track of 2025?
“Taxes by Geese. Three minutes-ish of indie rock perfection from one of the bands of the year.”
And your favourite album?
“It has to be Lux by Rosalía – just totally mind-blowing and beautiful. It’s the sound of an artist setting the agenda for others to follow.”
CHLÖE ROBERTS
Young
What was your favourite thing about the music industry in 2025?
“The continued dominance of female artists expressing themselves and their art in whatever way they wished to. A particular highlight being Sabrina Carpenter revelling in singing, ‘I’m so fuckin’ horny’ to sold out arenas up and down the country.”
And the year’s best-kept secret?
“Robyn dropping her first new music in seven years in November.”
What was your track of 2025?
“Stick by Jim Legxacy – epic sample, epic beat and as always, his great delivery.”
And your favourite album?
“Like A Ribbon by John Glacier. Literally, every single lyric…”
DAMARIS REX-TAYLOR
RCA
What took you by surprise the most in the industry this year?
“Though the focus is around AI, it’s refreshing to see the industry eager for tangibility, experience and community. Driving the conception and execution of the London RCA pop-up shop this year is testament to that.”
What was your track of 2025?
“Never Enough by Turnstile. It’s intentional and pure.”
And your favourite album?
“We’ve released some artist gems this year: Sleep Token, Blood Orange, Jade, Cat Burns, Miley Cyrus and Rosalía. They all shifted culture in some way!”
CATHY RUNCIMAN
EarthPercent
You won a Women In Music Award for your work with EarthPercent earlier this year. How has sustainability in music moved forward?
“There has been loads of progress. Massive Attack’s pioneering super-low carbon festival [in 2024] offered an exciting blueprint. LIVE and Live Green announced a partnership with Ecotricity Business and A Greener Future, a landmark initiative alongside the Music Venue Trust. The Live Events Energy Scheme [LEES] gives venues and promoters a simple, impactful way to cut emissions by switching to 100% green energy. Watch out, too, for the Show Must Go On #3 report from Vision For Sustainable Events, which offers an important climate transition plan for the UK’s live events sector. Elsewhere, the Coldplay and Billie Eilish tours offered exciting examples of what reducing harms, combined with pro-environmental advocacy and campaigning, can achieve, while vinyl’s fossil fuels-free materials future continues to develop at an exciting pace.”
What was your favourite track and album of 2025?
“I could pick any of the stunning and inspiring collabs with nature [as part of the Sounds Right project]. I’m loving Heaven (Butterflies) by Jacob Collier. The fact that it was co-written with The Earth is an added beautiful dimension! [For album] Pulp’s More – it was a massive and much-needed injection of joy this year.”
DAMIAN CHRISTIAN
Atlantic
Your promotions team won at the Music Week Awards again this year. How do you keep the department on its toes?
“We’ve won the award 17 times over the last 20 years, and I put all of this success down to two things: my incredible team and great tunes! I like to think that I lead from the front, but they’re truly the best of the best and are highly self-motivated. We ended the year with the very sad news about our Melly Mel – I’m so glad we got to dedicate the award to her. We have lost a special girl.”
Now the dust has settled, how do you reflect on organising the 2025 BRITs?
“Being the chairman has been one of the biggest honours of my life, and I loved every minute of my three years in charge. I think this year was, for sure, the most challenging, but it was also the most critically acclaimed, so that just goes to show you!”
What would you say was your favourite track and album of 2025?
“Alex Warren’s Ordinary. It was great to break another artist on Atlantic, and even greater that he went on to secure the biggest song of the year, and the most-played song on radio. [For album] I Barely Know Her by Sombr – a really great record.”
AILEEN DE LA CRUZ
Songwriter/ESEA Music
What do you hope the rest of the industry can take from the work of ESEA Music this year?
“I hope the industry learns to truly see and value us, not for our skin colour or heritage, but for our craft, skill and passion. Music is often described as a universal language and I’m hopeful that we can come together to take honest, meaningful steps toward a more inclusive mainstream industry.”
Can you tell us your own personal highlight of 2025?
“ESEA Music being honoured with the Music Week Women In Music Awards DE&I award was a defining highlight. It was the first time in my career that my work and dedication was recognised on a mainstream level, and it reaffirmed how meaningful it is. I’ve grown so much through the process, especially thanks to the lessons I’ve learned from our mentees. I’m also thrilled to be working with our ESEA team and the BRIT School, which understands that progress in DE&I begins with education.”
What was your favourite track and album of 2025?
“Golden from K-Pop Demon Hunters: seeing K-Pop ESEA artists being embraced by mainstream audiences feels like a huge win. My favourite album is Olivia Dean’s, I really appreciate her soulful, laid-back vocals.”
CHARLEY SNOOK
EGA Distro
How did EGA Distro grow this year?
“We’re hoping to make some noise with our newly-launched company, EGA France, and we also started EGA Publishing. Both are very exciting for us!”
And how did you personally grow as an executive?
“By finding my spark in management again. Managing one of the biggest rappers in the UK, Digga D, has been a complete highlight for me.”
What was your favourite track and album of 2025?
“Family Matters by Skye Newman has been mine and my daughter’s tune to sing our hearts out to, but then Digga D made the comeback we were all waiting for so I had to switch it back to DPMO! [For album] Olivia Dean – The Art Of Loving.”
PETER LEATHEM
PPL
PPL has a new chair, Dr Richard James Burgess MBE. What areas will you be focusing on together?
“This year was a landmark year for PPL, with our revenues reaching a record £301 million in 2024, the highest in our 90-year history. So, it’s an exciting time to welcome a new chair. He has had a very diverse career in music, having been a recording artist, producer, booking agent, label executive and most recently CEO of A2IM, the indie trade body in the US. As such, he brings immense experience and wise counsel. He’ll support us to realise our ambition to be the first choice globally for neighbouring rights royalty collections through driving UK and international growth and providing world-class customer service, while investing in our people and technology.”
Amid the ongoing challenges for retail, is there evidence that music can help the high street?
“Our 2024 financial results reported that public performance licensing rose by 9% to £121.4 million. This growth demonstrates that businesses continue to see the value of music in enhancing customer experience, increasing dwell time, and encouraging spending. Music is a vital part of the high street’s vibrancy and resilience, helping support economic activity. Imagine walking into a shop without any recorded commercial music – would you want to spend time there? Retailers know music plays a significant part in the shopping experience. A good track encourages people to browse for longer, with the added benefit of improving employee wellbeing and productivity.”
What were your track and album of 2025?
“Catch These Fists by Wet Leg. It was great to see them again at Glastonbury. For my album, it has to be Sam Fender’s People Watching.”
AHMED HUSSAIN
BBC Asian Network
BBC Asian Network relocated to Birmingham this year. What impact has that had so far?
“It’s been a really positive move. We’ve gone from working with just one independent supplier a few years ago to now partnering with seven, which shows how much opportunity has opened up. We’ve helped create jobs and training pathways, including production schemes that have led to people freelancing or becoming staff members with suppliers. It’s also great having everyone in one place. The energy is different, and the collaborations with partners across the West Midlands are just beginning. We brought our flagship live event, Asian Network Certified, back to Birmingham this year as a nod to the move, and it felt right. Being in the same space has brought our presenters and production teams closer, and that’s showing in the work.”
Is the UK industry doing enough to embrace the new talent you platform on the station?
“There’s always room for more. Asian Network is a brilliant launchpad, but it shouldn’t be the final stop. Some of the responsibility sits with the talent, but a lot of it is on the industry. Our talent, like our audience, wears many badges – British, Asian, creative, entrepreneurial – and they should be able to celebrate all aspects of that. The industry needs to recognise that and lean in. There’s so much distinctive storytelling and sound coming from our space, and it deserves more backing.”
What was your track and album of 2025?
“Joy Crookes – Perfect Crime. My album is between Karan Aujla and Ed Sheeran – Ed’s Asian collaborations were next level. It was a moment where sounds and artists from our genres were being taken seriously and elevated.”
SEMERA KHAN
Polydor Label Group
As the winner of the Special Recognition honour at Women In Music Awards this year, how would you sum up the importance of the visual side of campaigns in 2025?
“Visuals are just as important as ever. If anything, this has accelerated in 2025. Every artist’s visual campaign is so key – I have been particularly obsessed with Rosalía’s and Charli XCX’s campaigns. We are approaching each visual piece, whether short- or long-form, as curated content, almost like a music video. No matter the artist, every visual matters, especially for developing artists – it’s important to set the tone from the very start.”
Having worked on Sam Fender this year, it must mean even more that such poignant work is connecting with a big audience?
“It’s been inspiring to work with Sam Fender this year and it’s been such a huge one for him. We feel very proud, as a team, to have been part of his People Watching campaign. It’s been such a big success, the visuals have really connected, and it’s really motivating for us to see that collaboration and hard work pay off. We have set the tone for the next campaign, and set a high bar! It’s exciting.”
What was your track of 2025?
“CMAT – Take A Sexy Picture Of Me. I love a smart banger!”
And your favourite album?
“Sam Fender’s. An immense emotional journey.”
TOM GREEN
Apple Corps
You started as CEO at Apple Corps in September, how are you settling in?
“Great, it’s a fantastic job, full of lots of exciting possibilities. It’s been interesting coming from outside the music business and finding that balance between understanding how the industry works, while trying to keep some independent-mindedness.”
When you took the role, you talked about “new and innovative ways to bring The Beatles’ unique magic to all generations of fans”. Can you reveal what’s coming up?
“Stay tuned! But what is public knowledge are the forthcoming Sam Mendes films. There have been a lot of music biopics, but no one has approached it quite like us: four films, one from each band member’s point of view. I can’t wait to have those out in cinemas in a few years.”
What was your favourite track and album of 2025?
“During the last stages of interviewing for the Apple role, I had in-person meetings with all of the key people. On the New York leg of the trip, I went for a run in Central Park listening to the new Bon Iver album. It was a sunny, crisp day and the first time I heard If Only I Could Wait with Danielle Haim was just as I ran by Strawberry Fields. It became a soundtrack for me in a crazy year, personally. The album I’ve listened to more than anything else is the new Florence + The Machine record. I’m looking forward to seeing her on tour early next year.”
HELEN SMITH
IMPALA
IMPALA has led campaigns on TikTok, plus Universal’s proposed takeover of Downtown, recently. Has that proved its effectiveness as an advocate?
“This question came in the day before our AGM, so it was perfect timing and the answer was a resounding ‘yes’. We have seen a clear need for strong voices in the sector. We supported UMG’s decision to take their repertoire off TikTok and are pursuing a solution in Brussels to ensure gatekeepers cannot take away the independent sector’s right to rely on collective licensing. Along with UMG’s attempt to buy Downtown, both cases highlight the importance of the independent sector and its labels and artists in more ways than one. Our voice also plays a key role in other big issues such as AI, where the debate can be very quickly depicted as big tech vs big music.”
What was your track of 2025?
“Sweetie by Kokoroko released via Brownswood Recordings. A little bit of sweetness from this summer, this made my heartbeat bounce, as the lyrics say.”
And your favourite album?
“Bertrand Belin’s Watt on Cinq7/Wagram.”
VICTORIA NEEDS
AWAL
What was the moment that defined CMAT’s success for you this year?
“CMAT is magic. Her ability to write accessible songs with such depth of narrative is unrivalled, but my biggest reflection is how hard she’s worked this year. Seeing 80,000 people doing the Dunboyne County Two-Step at the Pyramid Stage at Glastonbury was quite a moment. She’s the best live performer in the UK right now.”
How do you reflect now on joining the Women In Music Awards Roll Of Honour?
“It’s really an honour to have been listed alongside such esteemed women, and a great reminder of how important it is for me to support and celebrate the young women coming through.”
What was your track of 2025?
“Raye’s Where Is My Husband! is a banger.”
And your favourite album?
“It can’t be anything other than CMAT’s Euro-Country. If you haven’t delved deeper than the focus releases, album tracks like Iceberg, Ready and Lord, Let That Tesla Crash hit you emotionally in ways you just wouldn’t expect.”
NICOLA SPOKES
Island EMI Label Group/The Collective
How did EMI North grow in 2025?
“EMI North have really put themselves on the map this year, both in terms of the labels they are supporting, such as Home Taping in Manchester, but also for the brilliant job the team – Scott Lewis, Tasha Pert and Jasmine Sidhu – did on the Doves’ Constellations For The Lonely campaign. With some rising stars across the EMI North labels, including Finn Forster on Interval, Girlband! on Soul Kitchen and Chiedu Oraka on Launchpad+, the team are making waves and creating opportunities for artists and labels across the North. There’s so much more to come!”
What was your 2025 highlight?
“Doing the double at the Music Week Awards and winning both the Record Company and A&R awards. I cannot express how thrilling that was for me, Louis [Bloom], Lucy [Dann] and the whole team. It had been a journey to get there and to see everyone’s relentless effort, passion and care for our artists and campaigns pay off – with not just commercial results but industry recognition – was emotional!”
What was your track of 2025?
“Lola Young’s Messy. I’m not ashamed to say me and the team shed some tears watching Lola play it at Glastonbury with every single person in the tent singing their hearts out. An incredible moment.”
And your favourite album?
“Jacob Alon – In Limerence. I have returned to it throughout this year and every time I listen to it, I feel like I hear something new.”
MARTIN TALBOT
Official Charts Company
Amid competition from US superstars, how has UK talent impacted the charts this year?
“It has been a fantastic year for a wide range of brilliant British acts: Olivia Dean, Myles Smith, Sam Fender, Lola Young, Dave, Lily Allen, The K’s, Tom Grennan, Wolf Alice and more all making their mark. It is certainly tougher than ever for music of all kinds to achieve the profile it deserves in this era of great choice, but there is no shortage of UK talent.”
How have the charts proved their relevance in terms of artists’ cultural impact in 2025?
“The Official Charts provide the narrative for the music stories of every year and the impact that Taylor Swift, Oasis, Alex Warren, Chappell Roan, Lola Young, Olivia Dean, K-Pop Demon Hunters, Lily Allen and more had on the national conversation through 2025 has been fully reflected. Of course, there is more music for fans to consume than ever before, a fact which means hit repertoire – the Top 100 tracks, week-by-week – is only one part of the picture, accounting for just over 4% of all UK music consumption during the first half of 2025. That’s why specialist data, charts and our No.1 trophies are an increasingly important part of the cultural mix.”
What was your favourite track and album of 2025?
“Bloom Baby Bloom by Wolf Alice really cut through. [For album] Getting Killed by Brooklyn band Geese, a strange, angular but compellingly brilliant record.”
KOMALI SCOTT-JONES
AWAL/The Black Music Coalition
How did the industry get it right in 2025?
“By allowing the benefits of true artist development to come to fruition. Despite the microwave climate of the past five years, great artists still need time to grow and find their voice and compete on the global stage in a way that only UK acts can.”
And what did it get wrong?
“Relinquishing even more power to tech companies by subscribing to this obsession over data and metrics with increasingly less tangible return for many artists who are working hard to be heard. Using such limiting and skewed measures of success feels like such a disservice to considering the full picture of an artist’s true potential, artistry or impact.”
What was your track of 2025?
“Promise by the absurdly talented DameDame is beautifully produced and performed with the perfect balance of joy and melancholy.”
And your favourite album?
“Home? by Wretch 32. A seminal album in Wretch’s career, full of high-calibre musicianship, identity and a subject matter which feels super-poignant amongst the heavy events of this year. I have a new favourite track each time I listen!”
SHAUNI CABALLERO
Sony Music Publishing
There has been lots of UK success this year, but what does the industry here need to do more of to help artists grow internationally?
“The UK has made significant progress, but sustained growth requires a stronger commitment to international engagement. Ensuring a consistent presence across territories will expand strategic relationships, enable more structured collaborations, and support a more globally competitive UK ecosystem.”
What did you learn from the Nemzzz campaign this year?
“I learned the power of authenticity and direct fan engagement. When an artist connects personally with their audience and stays true to their creative vision, it drives real growth and loyalty.”
What was your track of 2025?
“Folded by Kehlani. It captures all the essential elements of R&B and combines emotional honesty with smooth, expressive vocals and compelling production. At the same time, it is deeply relatable and immersive, making it a stand-out song of the year.”
And your favourite album?
“Olivia Dean’s The Art Of Loving. The album showcases her incredible vocal talent and songwriting ability across a range of moods and styles. Each track feels intimate and emotionally honest, creating a cohesive experience that really resonates.”
MAYKEL PIRON
Armada Music
Armada launched its new London office this year – how is the UK helping to drive growth?
“The UK already stands as our second-largest streaming territory, and with the opening of our brand new London hub, we’re expanding our presence even further. This allows us to foster more music creation and provide stronger support for both our local and international roster. We expect this to drive a significant increase in our overall output and play a major role in the company’s continued growth.”
You invest in dance catalogues through the Beat Music Fund. Has the power of electronic music’s heritage been overlooked compared to big rock catalogues?
“We’ve always recognised the value in electronic dance music because we have the deep knowledge and connection to the scene to understand where and how these catalogues work. There’s so much storytelling, history and versatility within this music – it just takes the right perspective to see its true power.”
What was your track of 2025?
“This Rhythm by Prospa feat. Rahh. It’s one of those tracks that gives you shivers on the dancefloor and makes you smile.”
And your favourite album?
“Armin Van Buuren’s Piano – his first-ever acoustic album, self-composed and performed entirely on the piano. I’ve had it on repeat since I first heard the songs back in March.”
ALEX KENNEDY
Believe
Believe Music Publishing launched this year. What are the synergies with your label services business?
“We have already signed several clients to represent both publishing and recorded music interests. For example, SL, Hospital Records, Shogun Audio and many more. Having 360-degree rights represented for sync and other licensing opportunities is crucial.”
You joined with the majors in partnering with Spotify on responsible AI – what will the benefits be for your clients?
“This partnership is fully aligned with Believe’s historic approach to AI and GenAI, which is based on two key principles: responsible AI and value-creative AI. For our artists and labels, this partnership will translate into value creation through tools that will fuel artist development and unlock new creative and commercial opportunities.”
What were your track and album of 2025?
“Sam Fender and Olivia Dean’s Rein Me In has been on repeat, and Adekunle Gold’s new album Fuji is simply incredible. His star is burning very brightly.”
HELEN THOMAS
BBC Radio 2
How does Radio 2 In The Park help the industry?
“The success of the event is that there’s something for everyone – this year we had Bryan Adams, Def Leppard, Suede, Soul II Soul, Jessie J and Olly Murs. For pluggers, we offer artists the one-stop shop of promo that isn’t available anywhere else: live radio on the UK’s most listened-to station, digital promo via BBC Sounds, BBC iPlayer and social, as well as TV, where coverage this year reached a record 3.3 million viewers.”
What was your track and album 2025?
“The Fate Of Ophelia by Taylor Swift and Brandi Carlile’s Returning To Myself.”
BEN WYNTER
Power Up/Unstoppable Music
Can you share the biggest lesson you learned about the breadth of the UK music industry this year?
“The industry’s future isn’t just in London. We have exceptional executive and creative talent in places like Yorkshire, Manchester, the North East and Bristol. We must target parity of investment and attention to these emerging hubs. If we inject capital and focus, they will become the next powerhouses driving the wider UK music economy.”
What was your track of 2025?
“Kehlani’s Folded. It has that essential, nostalgic early-noughties R&B texture, but it’s the combination of clever, modern lyricism and the sheer heartfelt passion in her delivery that elevates it.”
And your favourite album?
“Dave and Knucks made the two most important albums of 2025.”
PETE SIMMONS
Universal Music Publishing Group
How did things develop on an A&R front at Universal Music Publishing Group UK this year?
“When I look at our breaking artists and writers, UMPG UK discovered, developed and were an integral part of their story and successes. I’m really proud of that. I want us to be known for our service, not the size or the volume of the deals we do. We’re practising what we preach and proving our value and ability to make meaningful change regularly.”
What would you say was the best track released in 2025?
“Skye Newman’s Family Matters. It was a song that I think will stand the test of time.”
And your favourite album?
“EsDeeKid – Rebel. It was a masterclass in world building. Who saw Scouse rap leading the underground rap conversation globally in 2025?”
