UK Music has just published a new report called Black Music Means Business: Driving Economic Growth In The UK. Here, outgoing UK Music Diversity Taskforce chair Ammo Talwar, vice chair Paulette Long and head of diversity Eunice Obianagha outline its key messages and explain why the value of Black music cannot be overstated…
Ammo Talwar: “Black music has long been one of the UK’s most significant cultural exports. From lovers rock to grime and UK garage to drill, it has shaped not only Britain’s music scene, but also its wider cultural identity. Yet, despite its global influence, the commercial contribution of Black music in the UK has never been properly measured. The questions have remained: who owns it and how much is it worth? That’s why a new report commissioned by UK Music, called Black Music Means Business: Driving Economic Growth In The UK, is such a landmark moment.
“For decades, Paulette Long, Eunice Obianagha and I have each dedicated our working lives to Black music across record labels, publishing, touring, talent development, retail and more. Between us, those experiences represent a long-standing commitment to championing the artists, genres and communities that keep the industry moving forward. It’s precisely because we’ve witnessed both the brilliance of this music and the barriers it faces that we felt compelled to lead this report. Developing this project over the past 18 months has therefore been both an honour and a responsibility we have not taken lightly.
The report makes clear what many of us have long argued: Black music is not a niche; it is a market driver
Ammo Talwar
“The report brings together insights from artists, experts and behind-the-scenes professionals across Black British music, as well as measuring Black music’s real economic weight. It should prompt a fundamental rethink of how Black music is understood in boardrooms and on balance sheets. This is not a side story; it is the backbone of
the UK music economy.
“For decades, Black music has been both celebrated and sidelined, mined for inspiration, sold on for profit, but rarely reinvested in at the scale it deserves. The report makes clear what many of us have long argued: Black music is not a niche; it is a market driver. Every time a Dave track charts globally, or drum & bass powers a festival stage, the creative economy expands. The question now is not if Black music matters, but when industry and government leaders will align investment, leadership and strategy with that reality.”
Paulette Long: “Music was always something my friends and I talked about at school. We’d hear what was happening in the charts and say, ‘That beat, melody, rhythm or vibe sounds familiar.’ It was pop, but it also had elements of Black music we knew and loved. Years later, working in the music industry, I instinctively knew that the roots of Black music were deeply intertwined with pop sounds and culture, and I feel that even more so now. I could hear it, and I clearly saw its influence.
“Black music in Britain has been miscast as a collection of subcultures, ‘street sounds’, or temporary trends, rather than being recognised as the lifeblood of our national music identity.
“Our report data now officially tells the true story and makes the case plain: the system is overdue for a reset. Despite driving much of the industry’s cultural and financial growth, Black music still operates in an ecosystem that is underfunded, under-represented and undervalued. Artist development is precarious. Grassroots venues are closing. Leadership across labels, media and live music does not reflect the diversity of the talent that sustains it. That imbalance should trouble us all. This isn’t just unfair; it doesn’t make fiscal sense.
The UK industry needs to retool itself to truly value Black music
Paulette Long
“The UK industry needs to retool itself to truly value Black music. A more equitable ecosystem creates a stronger foundation for everyone, whether it’s emerging talent from working-class towns, disabled artists who need accessible touring opportunities, or women navigating an industry still marked by gender disparity. Black music’s story demonstrates what happens when marginalised voices innovate despite systemic barriers. Imagine what’s possible when those barriers are removed.
“Black music in the UK is not a fringe genre, and the country has the potential to set the global benchmark for how diversity drives creativity and competitiveness.”
Eunice Obianagha: “Black music is not just influencing the UK industry; it is powering it. From international artists like Burna Boy selling out the London Stadium, to homegrown talent like Raye winning MOBO and BRIT Awards, and all the countless artists we hear on the radio daily with influences from Black culture, the evidence is everywhere.
“Black music doesn’t only dominate on DSPs; it drives fashion trends, fuels advertising campaigns and underpins the UK’s global creative reputation. Yet the hard numbers reveal the contradiction: while Black-influenced genres contribute the overwhelming majority of recorded music revenues, that value is not proportionally reflected in investment, infrastructure, or leadership.
“Consider this: in London, nearly half of the overall workforce across all sectors comes from Black, Asian, or people from minority ethnic backgrounds in the UK. Yet, the 2024 UK Music Diversity Report found that only 22% of leadership roles in music reflect that diversity.
“The disconnect is particularly striking given how heavily concentrated the UK music industry is in London. This gap matters because leadership determines investment priorities, funding decisions and ultimately whose careers are nurtured and whose are overlooked.
“The lesson is broader than music. The Black Music Means Business… report shows how diversity and inclusion are not just moral imperatives; they are engines of innovation and growth. Black music proves that when under-represented voices are given space, they generate fresh sounds, new markets and global influence. The same is true across all marginalised groups: inclusion sparks creativity, that drives innovation, and innovation fuels economic expansion. Put simply, a more diverse industry is a stronger, more competitive industry.
Black music is not just influencing the UK industry; it is powering it
Eunice Obianagha
“The opportunity is clear. Equitable investment in Black music would not just correct historic imbalances; it would unlock sustainable growth across the entire creative economy. Community rehearsal spaces, grassroots promoters and small labels are not just cultural luxuries; they are incubators for the next generation of global stars. Embedding Black music into education, protecting its spaces and ensuring its leaders sit at the top tables are not optional extras; they are prerequisites for long-term competitiveness.
“If Black music is driving the industry, then it must also drive the decisions shaping its future. Anything less would limit both our cultural reach and our economic return.”
AT: “This report is not the end of the conversation; it’s an invitation to act. Will the UK finally balance recognition with investment? Will we align revenue with representation? The cultural and economic evidence is overwhelming. What’s needed now is delivery from the political and industry decision-makers.
“Black music is part of Britain’s national identity, its soft power and its global reputation. It carries the stories, histories, and traditions of diverse communities and the African diaspora. To continue thriving, the UK music industry must stop treating Black music as background noise and start treating it as the headline act it already is. Investing in Black music is not charity work. It’s about building the future of the creative economy, sustaining our leadership on the global stage, and ensuring the soundtrack of Britain reflects the talent, history and ambition of all its people.”
