Andrew Jenkins, the President of Australia and the Asia Pacific Region for Universal Music Publishing Group, will depart the company on July 1 after nearly two decades in the role, UMPG announced Monday (June 1).

Jenkins joined BMG Music Publishing International in 1993 as Vice President, was promoted to President of BMG Music Publishing International in 2005, and continued in senior leadership roles when Universal Music Publishing Group acquired BMG Music Publishing in 2006.

In that time, he oversaw UMPG’s publishing operations and creative teams across Australia, Asia, Africa and the Middle East, played a central role in expanding the company’s regional presence, and was integral to brokering both the SACEM and APRA multi-territory digital licensing arrangements at UMPG — two agreements that significantly shaped digital licensing in the region.

Before his publishing career, Jenkins began in the music industry at PolyGram in the U.K. in 1981, later serving as General Manager and Senior Director of Polydor Records. Over the course of his career he worked with, signed or helped oversee relationships with artists and songwriters including the Bee Gees, The Cure, Alanis Morissette, Pete Townshend, Robert Plant, Van Morrison, Guy Sebastian and Tom Waits.

Beyond his company role, Jenkins held significant industry leadership positions — serving as Chair of the International Confederation of Music Publishers (ICMP), as a founding board member of the International Music Publishers Association (IMPA), and as a board member of APRA, AMCOS and AMPAL in Australia.

UMPG Chairman and CEO Jody Gerson paid tribute in a statement. “Andrew has been an exceptional leader, colleague and friend,” she said. “His dedication to songwriters and artists, and his leadership across Australia and the Pacific Region, have left a lasting impact on both our company and the creative community throughout the region.”

In his own statement, Jenkins reflected warmly on the journey. “I am in awe of your genius and grateful for your friendship,” he said, addressing collaborators and colleagues. “It’s been amazing. So, until the next time, thank you all.”

A successor has not yet been announced.

Clive Davis has been hospitalized following an upper respiratory issue.

The legendary music executive, 94, was admitted to a New York City hospital on Friday (May 29), Billboard has confirmed. A representative for Davis told TMZ that he is being treated for an upper respiratory infection and was admitted to the hospital out of an abundance of caution.

He is expected to be released within the next 24 hours.

The hospitalization comes just days after Davis attended the Gordon Parks Foundation Awards Dinner and Auction in New York City, Page Six reports.

The iconic label boss, who helped shape the careers of artists including Whitney Houston, Bruce Springsteen, Aretha Franklin, Janis Joplin, Carlos Santana and Alicia Keys, has faced health challenges in the past. In February 2021, Davis postponed his annual pre-Grammy gala after being diagnosed with Bell’s palsy, a temporary condition that causes weakness or paralysis in facial muscles.

“He’s being treated with antibiotics and steroids and will make a full recovery within six to eight weeks, at which point he plans to host the second installment of the virtual pre-Grammy gala,” Davis’ rep said at the time.

Davis’ star-studded pre-Grammy gala has been held on the eve of the Grammy Awards each year since 1976.

A four-time Grammy winner and Rock & Roll Hall of Fame inductee, Davis is widely regarded as one of the most influential executives in modern music history. After entering the music business in the 1960s, he became president of Columbia Records in 1967 at age 35. Over a career spanning more than six decades, he held executive roles at CBS Records, founded Arista Records and J Records, later led RCA Music Group, and most recently held the title of chief creative officer at Sony Music Entertainment.

Looking outside his Istanbul hotel room, all John Burton has seen is yachts, submarines and oil tankers cruising off the Sea of Marmara’s coast.

After getting Ye (formerly Kanye West) back on the road in January to kick off his comeback with a pair of sold-out Mexico City shows in front of 80,000 fans at Monumental Plaza de Toros — his first concerts in Mexico in nearly two decades — Burton has West on the brink of performing the largest show of his career on May 30 at Istanbul’s Atatürk Olympic Stadium in Turkey.

As of our Memorial Day interview, Burton estimates that 90,000 tickets have been sold and he expects to cruise past the six-figure mark to about 120,000 tickets, which he’s billed as the “Road to 100K” campaign. “I was like, ‘We got something, let’s continue to do this around the world,’” he recalls after seeing the success of Ye’s Mexico City’s shows.

Burton, 43, launched Access Opera in 2017 as a production and management company for opera singers, who he refers to as “athletes of the voice” and classical events. He now serves as Ye’s agent handling overseas touring, independently booking his Mexico City and Turkey shows as well as a handful of upcoming European dates this summer.

“The Road to 100k is a way bigger statement than just the capacity,” Burton adds. “It opens up a lot of opportunity for independent promoters that necessarily wouldn’t have access to an artist like this.”

Like Ye, Burton’s a Southside of Chicago native and has been in the G.O.O.D. Music ethos since a teenager while growing up a super fan of Roc-A-Fella.

He worked for longtime Ye affiliate and streetwear designer Don C, served as the executive assistant to John Monopoly, who’s held lengthy stints as West’s manager and then got his own management chops as Consequence’s road manager for multiple tours in the 2000s.

Burton reconnected with Yeezy in 2019 after seeing him at a party where West asked him to come produce his upcoming operas after hearing about his business venture. Burton would helm operations for Nebuchadnezzar and Mary later that year, while also running point on the children’s choir for Ye’s Donda school.

By 2024, Burton relocated to Bangkok with his wife and the couple welcomed their first child. On a whim, Burton picked up the phone and called Ye with hopes of him being open to touring Asia in a market he saw oozing with potential opportunities. “I called Ye and said, ‘Do you want to tour?’” he recalls. West had already performed in Seoul and Shanghai in 2024 and 2025.

Burton envisioned plotting something similar to Michael Jackson’s HIStory World Tour in 1996 to 1997, which boasted 82 dates across Europe, Asia and Africa, while MJ opted not to hit the continental U.S. as he only performed a pair of shows in Hawaii.

Ye has been open about struggles to book U.S. dates following his string of controversies, including repeated hate speech and antisemitic remarks since 2022. The destruction blew up lucrative deals with adidas, Universal Music Group, Gap and Balenciaga, as companies distanced themselves from the mercurial star.

Ye’s made efforts on his road to forgiveness in recent months. West met with a rabbi in November and took out a full-page ad to pen a letter in The Wall Street Journal in January, which saw him apologize to the Jewish and Black communities for his hurtful actions.

Yeezy has avoided major controversy for the first six months of the year as he continues to seek reconciliation and make things right with those he hurt.

As for Burton, he disagreed with how Ye communicated his message in recent years, but backed his intentions as someone whose known West going on two decades. “I think he could have been articulated a lot differently, and he could have driven the point home if it was more diplomatic,” he explains. “But I believe that the sentiments behind it are spot the f—k on.”

Not everyone else was as quick to forgive West. After releasing his Bully album in March via Larry Jackson’s Gamma label, which debuted at No. 2 on the Billboard 200, Ye was booked to headline three nights of Wireless Fest in London this summer. However, he was denied a travel visa by U.K. government officials, which led to the festival’s cancelation in April.

Other European countries followed suit, as Poland and Switzerland canceled shows due to his antisemitic past. Ye went ahead and postponed his France stop in Marseille indefinitely. West’s July 18 concert with Travis Scott in Italy was also reportedly canceled on Friday (May 29).

The seeds for Turkey’s show were planted across the world in Mexico City when Burton invited ILS Vision founder Erdem Karahan to the pair of Mexico City concerts in January. Karahan bought in and will serve as the promoter for West’s return to the stage in Istanbul on Saturday (May 30). “I was like, ‘We got something, let’s continue to do this around the world,’” Burton adds.

The gates to North America were opened after Mexico City for West as well, who booked a pair of concerts on April 1 and April 3 at SoFi Stadium on the heels of Bully, which went on to be Ye’s first shows in Los Angeles since 2021.

Ye’s return to L.A. grossed a staggering $32.6 million across 149,000 tickets sold, according to Billboard Boxscore. “He’s the Michael Jordan of this thing,” Burton says of West’s place in the rap game and lucrative touring prospects over 20 years into his career.

The two L.A. shows were presented by Rod Wave’s Mainstay Touring, which is backed by Live Nation. According to a release from the company, Live Nation posted a revenue of $25.2 billion in 2025.

Yeezy arrived in Turkey on Thursday (May 28) to plenty of fanfare. Preparations continued throughout the week to bring his globe-shaped stage to Atatürk Olympic Stadium. According to a press release, West’s return to Turkey — which marks his first show in the country in 11 years — is expected to generate nearly $100 million in tourism revenue through hotels, transportation, dining and tourist spending.

YE IN TURKEY will be streamed live on West’s YouTube channel. The Chicago native is set to hit the stage around 2 p.m. ET.

For Burton, he’s already got his sights set on booking more shows for Ye across Europe amid the handful of cancelations.

Yeezy will head to the Netherlands for a pair of dates on June 6 and June 8, before returning to the U.S. for two shows in Tampa Bay at Raymond James Stadium on June 26 and June 28. July currently has concerts set in Albania (July 7) and Madrid (July 20), while he’ll head to Portugal to close out the mini European tour on Aug. 7.

“This opens up the conversation for what artists can do independently for our culture, and there are unlimited seats at this independent table,” Burton proclaims. “We just want to be a production agency that’s a part of the conversation.”

He continues: “We’re not trying to say, ‘We Death Row come over here.’ But what we are saying is that if you want an opportunity, we can provide it at scale and we can be doing it with the biggest artists in the world.”

Drake’s blockbuster Iceman release has broken multiple Billboard Canadian chart records.

After dropping three albums earlier this month — Iceman, Maid of Honour and Habibti — the Toronto-born rapper is reaching new chart heights in his home country.

The same week that he beat Michael Jackson’s record for most No. 1s in the U.S.

Drake’s “Janice STFU” is his 14th No. 1 song on the Billboard Canadian Hot 100 dated May 30.

That marks Drake’s 14th chart-topping song since the chart’s inception in 2007, and it breaks a tie with Justin Bieber and Taylor Swift for the most No. 1 songs in Canadian Hot 100 history.

Drizzy scores all top nine spots on the Canadian Hot 100 this week.

That’s a major feat, occupying 9 out of the top 10 simultaneously, though it doesn’t quite pass Taylor Swift. She holds the record for the most entries in the top 10 simultaneously, with 10 on Nov. 5, 2022, and Oct. 18, 2025.

Drake did break another of Swift’s records, though, charting 17 songs in the top 20 simultaneously of this week’s Canadian Hot 100. Previously, Swift held that record, with 15 tracks.

Drake has had 51 tracks in the top five and 84 tracks that have hit the top 10 —both extending his personal records.

Drake has 42 out of 100 of the total chart spots on this week’s Canadian Hot 100. That’s another record, surpassing the 37 tracks that Morgan Wallen stacked on the May 31, 2025, chart, powered by his chart-topping release I’m the Problem.

40 of Drake’s songs make their debut on the chart this week, and two re-enter, setting a new record for the most charting hits in a single week.

Find all of Drake’s Canadian chart records here.

Music ‘Streaming Tax’ Update Is ‘Forthcoming’ as CRTC Triples TV Streaming CanCon Contributions to 15%

The Canadian Radio-television and Telecommunications Commission (CRTC) has increased its base contributions for major audiovisual streaming services like Netflix, Amazon Prime Video and Apple TV.

The federal broadcast regulator has revealed that platforms earning more than $25 million in revenue will be required to pay 15% of their income to Canadian content funds. It’s a 10% increase from the 5% base contribution requirement proposed in 2024.

“The total contributions are expected to stabilize the funding at more than $2 billion in support of Canadian and Indigenous content, such as French-language content and news,” the federal broadcast regulator’s statement reads. “These measures will help ensure that Canadian stories continue to be told and made available to audiences across the country.”

The CRTC made the decisions as part of its implementation of the Online Streaming Act, in an effort to boost Canadian and Indigenous content discoverability.

To ensure the CRTC’s requests are met, online streaming platforms will be required to take steps to make diverse content available and visible. Details of those requirements have yet to be publicly revealed.

So, what does this mean for music streaming?

A spokesperson for the CRTC tells Billboard Canada, “a decision on the Consultation on Canadian content for audio services is forthcoming, and any changes affecting music streaming services would be set out in a public decision following that process.”

As it stands, CRTC regulations state that at least 35% of music played on commercial radio stations must be localized content — a.k.a. CanCon. This standard doesn’t extend to music streaming services, with many independent Canadian groups pushing for this change with the 5% base contributions. Currently, rollout is paused.

Read more here.

National Music Centre Names Steve Kane as Chair of NMC Board of Directors

Canada’s National Music Centre (NMC) has promoted Steve Kane to chair of the organization’s board of directors.

Previously, he served as a board member for the Calgary-based music organization, rounding out over 30 years championing Canada’s music scene and working at some of today’s biggest Canadian record labels.

Kane, former longtime president of Warner Music Canada and a member of the Canadian Music and Broadcast Industry Hall of Fame, succeeds Rob Braide, who is retiring from the Board after 13 years. Braide helped to open and launch NMC, which is celebrating its 10th anniversary this year. In celebration, the organization has kicked off a year-long lineup of exhibits, events and programs.

As he enters this expanded role at NMC, he shares that he’s excited to “amplify the power of music in Canada, both nationally and internationally.”

“I’m thrilled and honoured to be taking on this expanded role on the Board of the National Music Centre. Our songs and stories are central to our identity as Canadians from coast to coast to coast,” he tells Billboard Canada. “At NMC, we don’t just preserve the past. We are helping create the future of Canadian music with educational programs, artist development initiatives, world-class recording studios, and unique live events that incorporate NMC’s historic collection of musical instruments.”

In the late ’90s, Kane kicked off his music industry career as senior vice president of Polygram Records and Universal/Island/Def Jam Canada. While he stayed at the latter label for four years, his longest stint was as president of Warner Music Canada for 20 years, starting in 2001. In 2021, he was succeeded by Kristen Burke at the Canadian major label, who remained in the role until 2025, when Eric Wong was tapped for the position.

Throughout Kane’s decades-spanning career, he has served on various music boards, including Canadian Country Music Association (CCMA), Canadian Academy of Recording Arts and Sciences (CARAS) and Unison.

Kane will be joined by current board member Jennifer Buchanan, who is stepping into the role of vice-chair.

Read more here.

The executive honorees on this second annual Billboard U.K. Power Players list are driving a level of global success not seen in years.

The past year saw a number of British and Irish artists reach new heights on a number of Billboard’s charts. Olivia Dean has taken up residency on both the Hot 100 and the Billboard 200, while Sleep Token topped the latter, a rare feat for a British rock band. Elsewhere Yungblud and FKA twigs drew significant moments on the genre charts, and Billboard’s Year-End Charts for both touring and recorded music featured contemporary superstars (Ed Sheeran, Dua Lipa) and legends (Paul McCartney, Elton John, Iron Maiden).

The narrative around U.K. music, too, has completed its shift from nervous excitement to cocksure confidence. This was encapsulated at 2026 Grammy Awards where Dean’s achieved a stunning coup by bagging the best new artist prize, while Lola Young collected the pop solo performance for her global hit “Messy.” Elsewhere, Oasis’ euphoric reunion tour took British culture around the world as fans joined arm-in-arm to celebrate an emotional reconciliation.

This success explains the evolution of this list, which debuted last year as an expansion of Billboard’s signature Power Players franchise to recognize industry leaders in the United Kingdom. The list honors executives — nominated by their peers and companies and chosen by Billboard’s editors — from selected sectors of the industry: major music groups, labels and distributors, managers, music publishers, streaming companies, the live business, agencies, rights organizations and associations.

This year’s list is even bigger than before, with more executives and companies represented in recognition of those achievements.

However there remain pressing issues in the market: the U.K. government’s approach to AI remains muddled and a workable plan to protect rightsholders is still up in the air; the local grassroots music scene has rallied to provide innovative ways to support to artists and venues, but further intervention is desperately required; ensuring that a career in music is accessible and viable is of great concern. These executives, however, are up for the fight. 

In 2026’s U.K. Power Players list, they reflect on the past year, the market’s recent successes and what comes next for the scene. — Thomas Smith, Editor, Billboard U.K.

Major Music Groups

Sony Music Group

Jason Iley, Chairman and CEO, Sony Music U.K. & Ireland
Azi Eftekhari, COO, Sony Music U.K. & Ireland

2026 marked the commencement of Sony Music’s three-year stewardship of The BRIT Awards and Iley says that this year’s ceremony “felt genuinely historic.” Led by RCA’s Stacey Tang, the event moved outside of London for the first time, heading to Manchester’s Co-op Live where Iley feels that the city “rose to the occasion.” A number of Sony-affiliated acts — Harry Styles, Wolf Alice, Rosalía to name a few — featured prominently with knock-out performances. “I couldn’t be prouder of the show delivered on behalf of our artists and the wider music community on a truly global stage,” he adds. “The show and the fringe events around it are building a lasting cultural imprint on the city and reflect our values of collaboration, inclusion and creativity.”

Warner Music Group

Simon Robson, President, EMEA Recorded Music
Priscilla Kotey, Managing director, Warner Music Ireland

2025 saw a major restructure at Warner Music, with Robson stepping into the leadership role following Tony Harlow’s departure after six years at the helm. The move to align the U.K. operations with international infrastructure, Robson says, has “unlocked a new level of firepower for our artists and there’s now a renewed energy in our U.K. teams.” Successes for Charli xcx, PinkPantheress and more in the U.K. and beyond shows that WMG U.K. is “just hitting [its] stride.”

Universal Music Group

Dickon Stainer, Chairman and CEO, Universal Music Group U.K. and Ireland; Chairman of Global Classics & Jazz and Verve Label Group
Rebecca Allen, Chief artist & strategy officer, Universal Music Group U.K.
Nickie Owen, President, international marketing, Universal Music Group U.K.
Ange Lawrence, Chief people, inclusion & culture officer, Universal Music Group U.K. and Ireland
Adam Barker, Executive vp legal & business affairs, Universal Music Group U.K.

Speaking on their recent achievements, Stainer says that Universal Music Group’s U.K. division is “playing our part in returning British artists to their rightful place at the forefront of the global stage.” He’s not wrong: Olivia Dean, signed to Capitol Records, scooped best new artist at the Grammys in February, and Island’s Lola Young banked best pop solo performance against a tough field for a UMG U.K. double-whammy. Sam Fender, Yungblud, Lewis Capaldi, FLO and more signees are also among the acts to make international gains without compromising their unique identities.

Labels & Distributors

0207 Def Jam

Alec Boateng, President, 0207 Def Jam, Universal Music Group U.K.

0207 Def Jam’s marquee signing Stormzy dropped his first single in almost a year in May 2026, teaming up with Odeal for the party-starting single “24 Hours”. It follows a flurry of activity in early 2025 with the tracks “SORRY RACH!” and “Hold Me Down” alongside a feature with ODUMODUBLVCK later in the year. There’s also been success with other 0207 Def Jam-signed acts such as Nia Smith and Amie Blu, the latter of which recently released the long-teased single “Trees For The Woods.”

ADA

Howard Corner, Managing director U.K. & EMEA, ADA

ADA has played a major role in “redefining how we break U.K. talent globally,” Corner says. He spotlights the “grassroots strategy” behind The K’s sophomore LP Pretty on the Internet, the Merseyside band’s first No. 1 on the U.K.’s Official Albums Chart, and the “global-first” mindset that has seen rapper EsDeeKid surpass one billion streams as proof of their methods. “We’ve positioned ADA as the ultimate ‘plug-in’ for labels like LAB Records, Aemeralds, and Lizzy Records, leveraging Warner Music’s EMEA infrastructure to scale independent visions,” Corner says of the recent successes.

Atlantic Records U.K.

Briony Turner, Co-president, Atlantic Records U.K.
Ed Howard, Co-president, Atlantic Records U.K.
Sam Spencer, Executive vp, Atlantic Records U.K.

For the past 12 months, the Atlantic Records U.K. team has continued to throw their weight behind signees Charli xcx and Fred again.., with Turner saying that the latter “has completely reimagined the connection between electronic music and live performance.” Ultimately, “our mission remains to pair British creative ingenuity with unparalleled international scale” and the team has recently inked deals with Barry Can’t Swim and Erin LeCount. “By fostering deep-rooted artist development via our incredibly talented team, we ensure our roster, from our icons to our newest signings, leads the global conversation.”

AWAL U.K.

Matt Riley, President, AWAL U.K.
Sam Potts, Co-managing director, AWAL U.K.
Victoria Needs, Co-managing director, AWAL U.K.

After a standout year for AWAL, Riley points to both scale and strategy behind the company’s momentum. Breakout moments included Djo’s “End Of Beginning” surpassing three billion streams and spending two weeks at No. 1 in the U.K., alongside BRIT-nominated albums from CMAT and Little Simz. “Our mission is to partner with independent artists to tell stories that shape culture,” says Riley. “Operating from London as a global hub, we’re uniquely positioned to bring British, Irish and international creativity to the world stage — driven by the independent, entrepreneurial spirit of our roster and our teams.”

Beggars Group

Martin Mills, Chairman, Beggars Group
Paul Redding, CEO, Beggars Group
Ben Beardsworth, Managing director, XL Recordings
Caius Pawson, Founder, Young
Jeannette Lee, Co-managing director, Rough Trade Records
Ed Horrox, President, 4AD
Alex Keague-Davies, General manager, Matador

The Beggars Group celebrate their 50th anniversary in 2026, having opened the inaugural Beggars Banquet record shop in southwest London in 1976. Mills and the group are celebrating major successes in the past year for Pulp (Rough Trade), Jim Legxacy (XL Recordings), FKA twigs (Young) and more. Beggars also played a major role in the distribution of War Child’s charity LP Help(2), starring contributions from Olivia Rodrigo and Arctic Monkeys, which raised funds for children caught up in conflict zones. In December, Mills announced the formation of the MM Settlement Trust that sees all shares in the Group transfer to the trust “to preserve the company’s independence and help to ensure continuity over future generations, in the interests of both artists and employees.”

Capitol Records U.K.

Jo Charrington, President, Capitol Records U.K.

Olivia Dean’s breakthrough has been one of the British music industry’s finest moments in years. She kicked off the album campaign for The Art of Loving, released via Capitol, in May 2025 and has since bagged two U.K. No. 1 singles (“Man I Need,” “Rein Me In” with Sam Fender), been a mainstay in the top 10 of the Billboard Hot 100, won best new artist at the 2026 Grammys and scooped a haul of four BRIT Awards. She’s currently on a global arena trek which includes six nights at London’s O2 Arena, plus a headline slot at Lollapalooza in Chicago this summer. Her ascent shows no signs of abating.

Columbia Records U.K.

Dipesh Parmar, President, Columbia Records U.K.

Columbia has enjoyed a number of fresh U.K. chart successes over the past year, with Skye Newman standing out. Her breakthrough, Parmar says, has been “extraordinary” and he highlights a number of accomplishments for the rising London pop act, namely that Newman was the first U.K. female solo artist in over a decade to debut in the top 20 of the Official Singles Chart with her first two releases (“Family Matters” and “Hairdresser”); she was subsequently nominated for two awards at the 2026 BRIT Awards: best new artist and best song (“Family Matters”). Newman’s momentum is “reflected across the label, with Columbia most recently holding five of the U.K. top 10 and eight of the top 20 singles.”

Decca Records U.K.

Laura Monks, President, Decca Records U.K.

The past 12 months brought a “new chapter” at Decca with Monks assuming the role of president, a title she previously shared with Tom Lewis (now of UMG U.K.’s Fontana Records). Monks spotlights the label’s release of Max Richter’s “powerful” score for the Oscar-nominated Hamnet, calling the German-British composer “a joy to work with.” She adds: “We are incredibly focused on delivering the best campaigns to amplify the role of music in film.”

EGA Distro

Colin Batsa, Chairman & president, EGA Distro
Charley Snook, Managing director, EGA Distro

EGA Distro’s roster hit a number of highs in the past year, with D-Block Europe landing another top five placement on the U.K.’s Official Albums Chart (PTSD 2 placed at No. 4) and their signee Twin S scooping the best drill prize at the 2026 MOBO Awards. Expansion remains a priority, with Batsa promising a new era for the pioneering label as they enter into the “management field by teaming up with one of the world’s biggest promoters, Live Nation,” with the forthcoming launch of EGA Nation. “Watch this space!”

EMPIRE

Guillermo Ramos, Managing director, Europe, EMPIRE
Ted May, Senior vp, international marketing, EMPIRE

EMPIRE’s “strengthened” U.K. team has allowed the label to deepen its expertise and scope over the past 12 months. Ramos says that this proved by the “the calibre of our domestic roster — led by J Hus — while using London as an international hub to sharpen our focus on the U.K. for global priority acts like Bebe Rexha and Shaboozey, as well as our best-in-class African Music roster.” Expanding into new genres, May adds, has seen their capability and ambition scale up: “This is what a modern independent label looks like in 2026.”

Epic Records U.K.

Sarah Lockhart, President, Epic Records U.K.

The fanbase built by grime legend Skepta, Epic Records U.K.’s marquee signing, has had a “generational impact on U.K. artists” while his influence on “creatives is phenomenal,” Lockhart says. Recent accolades at the BRIT Awards, Grammys and MOBO Awards proves that the Londoner’s “music is more vital than ever,” she adds. Fork And Knife, his upcoming album, is receiving its final touches, he recently revealed. “Long may his work continue to inspire Epic’s ethos and to pioneer creative culture,” Lockhart teases. 

Fiction Records

Jim Chancellor, Managing director, Fiction Records

Under Chancellor’s leadership, Fiction Records, now part of the Virgin Music Group, has seen “exceptional and exponential growth” over the past year. Recent signings include U.K. indie darlings Man/Woman/Chainsaw and songwriter Tom A. Smith, while the label has also taken on multi-disciplinary artist and former Savages bandleader Jehnny Beth, who released her second solo record You Heartbreaker in August 2025 to critical acclaim. Seeing both Fiction and Virgin “expand their influence all over the world, without losing that personal touch or passion for the music has been so rewarding,” adds Chancellor. “We’re scaling with class.”

Fontana

Tom Lewis, President, Fontana, Universal Music Group U.K.

In 2025, UMG U.K. announced the launch of Fontana Records, a revived imprint dedicated to jazz, folk, blues and soul artists; Lewis, previously of Decca Records, assumed the role of president. “We’re the only label of our kind in the U.K. but our ambitions will always be global, and this is borne out in the international fanbase footprints for all our artists,” he says. TOMORA, a supergroup made up of Chemical Brothers’ Tom Rowlands and Norwegian pop star AURORA, issued their debut LP Come Closer via the label in March. Lewis is now looking forward to what comes next: “We’re only six months in and have already unveiled two amazing new signings: the incredible Scottish soul powerhouse Brooke Combe, and Geordie punk jazz trailblazers Knats.”

Island EMI Label Group

Louis Bloom, President, Island EMI Label Group, Universal Music Group U.K.

Bloom says that Island EMI is “passionate about artist development and nurturing new talent” and says that Lola Young’s 2025 breakthrough has been “brilliant to see.” First signed to Island in 2019, Young’s career hit new highs following the release of “Messy” which topped the U.K.’s Official Singles Chart and won the Londoner her first Grammy award (best pop solo performance). Following the release of her second album proper I’m Only F–king Myself, Young earned the breakthrough artist prize at the 2026 BRIT Awards and recently took to the stage as a performer following a brief hiatus. “She is a truly exceptional global talent,” Bloom concludes.

The Orchard

Ian Dutt, President U.K., The Orchard
Chris Manning, Director U.K. and Europe, The Orchard
Richard Pattison, VP, A&R/Label Partnerships, The Orchard

“Clients of The Orchard have reached too many achievements to single any one out,” says Dutt, reflecting on an exceptional 12 months for the Sony-owned company, which supports a diverse roster of U.K. artists and labels through distribution and marketing services. “The fact that we support so many independently minded entrepreneurs on a daily basis still fills me with an enormous sense of pride.” The Orchard’s work on RAYE’s second full-length effort, This Music May Contain Hope., underscores that impact. Upon its release in April, it became the singer’s first U.K. No. 1 album and was followed by an international arena tour.

[PIAS]

Kenny Gates, Executive chairman, [PIAS]

Reflecting over the past year, Gates says that the rapid rise of Geese, whose 2025 LP Getting Killed was distributed by label, proves [PIAS]’ “continued ability to identify and develop globally relevant talent at an early stage.” Similarly, the signing of Massive Attack further strengthened its “reputation as a home for artistically important, artist-led projects,” while Kneecap’s recent LP Fenian landed at No. 2 on the U.K.’s Official Albums Charts. Gates also oversaw “an important leadership evolution at the company” with Edwin Schröter moving to the role of CEO, while Gates assumed the executive chairman title. This move, Gates says, is “designed to position the company for its next phase of international growth while maintaining its longstanding artist-first philosophy and independently minded ethos.”

Polydor Label Group

Ben Mortimer, President, Polydor Label Group, Universal Music Group U.K.

Mortimer is most proud of how Polydor Label Group — which combines Polydor Records, 0207 Def Jam and Capitol Records — has come together as “fully-integrated business at pace,” while simultaneously delivering “global success for artists including Polydor’s Sam Fender and Capitol’s Olivia Dean.” Their collaborative track “Rein Me In” is now the U.K.’s Official Singles Chart longest-reigning male/female No. 1 duet, surpassing Rihanna and Jay Z’s “Umbrella.” At the time of writing, the song has notched 12 non-consecutive weeks at the summit and nabbed song of the year at the 2026 BRIT Awards.

RCA Records U.K.

Glyn Aikins, Co-president of RCA Records U.K.
Stacey Tang, Co-president of RCA Records U.K.

Aikins, who shares the role of co-president with Stacey Tang, says that RCA U.K. has been reshaped into a “truly global A&R engine” that “competes at the highest level while staying rooted in U.K. culture.” Myles Smith, who is due to release his debut album My Mess, My Heart, My Life, in June is proof of that mission. Tang concurs, adding that JADE, Bring Me The Horizon and Smith “reflect ambition, commitment to artistry and creative bravery that build genuinely meaningful relationships with fans.” 2026 also saw Tang act as the chair for the BRIT Awards, and “working with British talent that connects powerfully across the globe is a theme that was key” to this year’s ceremony.

Rubyworks

Niall Muckian, Founder and managing director, Rubyworks

Rubyworks once again toasted the success of Hozier — who penned his first deal with the Irish indie label and artist management company back in 2013 — after he equaled his fellow countrymen U2’s six consecutive number one singles on Billboard’s Adult Alternative Airplay chart. While they await the next major release from the County Wicklow singer-songwriter, Rubyworks founder and MD Muckian is keen to highlight the label’s upcoming “landmark” tribute album to the late Pogues frontman Shane MacGowan. Featuring contributions from Bruce Springsteen, Primal Scream and Tom Waits, it has also seen the label call upon Hozier for a promising collaboration with Oscar winner Jessie Buckley. “In keeping with MacGowan’s long-standing values,” Muckian adds, “50% of artist royalties from the project are being donated to the Dublin Simon Community to support those experiencing homelessness.”

Secretly Group

Matthew Fogg, Director of promotions, Secretly Group
Ali Murphy, International marketing director, Secretly Group
Adam Nealon, Senior director of A&R, Secretly Group
Will Edge, Director of projects U.K./EU, Secretly Group
Kristian Downs, Head of digital operations, Secretly Distribution
Tom Davies, Director, Global marketing & campaigns, Secretly Distribution

“As the industry becomes more consolidated and increasingly shaped by opaque systems, we’ve made a deliberate choice to invest in tools that give our labels clarity, control and a real competitive edge,” says Downs, pointing to Secretly’s growing focus on infrastructure as it continues to scale its independent ecosystem. That investment runs alongside a strong year for the group’s U.K. team across promotions and A&R, with Edge highlighting standout results for Mitski and Bon Iver, with the latter securing their highest-charting album in nearly a decade. “A big focus for us has been how those campaigns are built, thinking beyond release week so records have room to grow,” he adds.

SoundOn

Nichal Sethi, Managing director SoundOn EMEA, TikTok / SoundOn

Following its launch in 2022, Sethi describes the previous calendar year as a breakout period for the team in the U.K. In 2025, SoundOn earned six Top 40 placings on the Official Singles Chart, with WizTheMc’s “Show Me Love” peaking at No. 3 and breaking into the top 20 of Spotify’s Global Charts. Working with indie artists such as Denon Reed, Tkandz and HAVEN, and labels including AAO, Jinx and Broke Records, Sethi says, proves that SoundOn can elevate artists no matter “how early on or developed they are in their career” by “leveraging our expertise on TikTok, the No. 1 platform in the world for music discovery and promotion.”

Universal Music Recordings

Hannah Neaves, President, Universal Music Recordings, Universal Music Group U.K.

Universal Music Recordings, the label responsible for elevating the catalogue of UMG U.K.’s iconic catalogue, is bringing “a wealth of new audiences to our legendary artists” with innovative marketing strategies, synchs and more. Neaves says that UMR’s “brilliantly creative team” are putting a spotlight on works by The Beatles, Amy Winehouse, Bob Marley, Elton John, The Spice Girls and The Rolling Stones throughout the year, with the latter looking to earn their 15th UK. No. 1 on the Official Albums Chart with new LP Foreign Tongues.

Virgin Music Group

Nick Roden, President, Europe, Virgin Music Group
Vanessa Bosåen, President, U.K., Virgin Music Group
Liz Northeast, Senior vp, EMEA, FUGA
Tom Allen, Chief technology officer, Downtown

Virgin Media Group announced its acquisition of Downtown back in February, with the latter’s portfolio including FUGA, the largest full-service B2B music distributor in the world. The move typified why VMG is such “an exhilarating place to be,” as Bosåen describes it. “The breadth of services and expertise we’re now able to offer to our partners feels genuinely special,” she adds. “Over the past year, I’ve had the privilege of working alongside incredible music, visionary artists and ambitious entrepreneurs, all pushing boundaries in their own way. What’s most exciting is that we’re only just getting started.”

Warner Records & Parlophone Label Group

Joe Kentish, President, Warner Records Label Group U.K.
Alex Burford, Managing director, Warner Records U.K.
Jennifer Ivory, Managing director, Parlophone

The success for PinkPantheress has been a “standout highlight” for the Warner Records U.K. team over the past 12 months. In March 2026, “Stateside” hit No. 1 on Billboard’s Global 200 and reached the summit of the Global Spotify Chart, which Kentish considered a “landmark moment” for the team. Pink also made history by becoming the first woman — and youngest ever artist — to win BRIT Awards’ producer of the year prize. “Her success proves that when you back an artist’s authentic vision, there are no limits to how far that sound can travel.”

Multisector

Believe/TuneCore

Alex Kennedy, Managing director, U.K., Northern Europe & AUS/NZ, Believe 
Sarah Wilson, Head of TuneCore, U.K. & Ireland, AUS/NZ, TuneCore

Kennedy says the past year saw his team “play an important role” in supporting the French company’s global strategy, which included the launches of Believe Music Publishing and its label and artist services business in the United States. He points to the “huge global success” of Adekunle Gold, viral success of Novo Amor and a U.K. top 10 album for Craig David as recent highlights. “We’ve continued to attract outstanding new talent, both emerging and established, while also helping the artists and labels we work with achieve meaningful growth and tangible success,” he adds, crediting Wilson’s leadership with making TuneCore an “integral and effective partner for artists at all levels.” 

BMG

Alistair Norbury, President, U.K., continental Europe & APAC, BMG
Jamie Nelson, Senior vp, new recordings, U.K., BMG
Lisa Cullington, vp, creative, publishing, BMG

Reflecting on a transformative year, Norbury notes that BMG’s move into a new Pimlico office — plus a brand identity refresh — has been “a real step forward for the London team.” The new office space houses three recording studios, allowing for artists signed to the combined music publisher and record label to create and collaborate on-site. BMG also saw standout success with Lily Allen’s zeitgeist-shifting West End Girl LP, which arrived via a surprise drop, or as Norbury puts it, “a more unconventional and discreet approach.” He adds: “It reflects how we operate: artist-first and built around what the music needs.”

Reservoir/Blue Raincoat Music

Jeremy Lascelles, CEO/co-founder, Blue Raincoat Music; CEO, Chrysalis Records
Alison Wenham, COO, Blue Raincoat Music; COO, Chrysalis Records
Annette Barrett, Managing director and global strategic liaison, Reservoir 

The past 12 months marked “another year of strong momentum” for Blue Raincoat Music, part of the Reservoir group, with “successes and growth across each division of our integrated business,” says Lascelles. Highlights from the firm’s artist management arm included Tony Berg’s production work on Sombr’s breakout debut I Barely Know Her, alongside the conclusion of Cigarettes After Sex’s sold‑out arena world tour. On the publishing side, there were new deals with Brendan Benson and the estates of Nick and Molly Drake, while Chrysalis Records added Hiss Golden Messenger to its frontline label roster, joining Laura Marling, Nadia Read and Bodega.

Management

Charli xcx Management

Brandon Creed, Founder and CEO, Good World Management
Sam Pringle, Partner, Project Gold
Twiggy Rowley, Partner, Project Gold

Beyond her ability to capture the zeitgeist, Charli xcx’s management team has played a major part in her success in recent years. Life after Brat, her 2024 LP is looking strong already with her Wuthering Heights soundtrack LP hitting No. 1 on the U.K.’s Official Albums Chart, and two new singles (“Rock Music” and “SS26”) ensuring she remains a defining force in pop. Alongside his colleagues Sam Pringle and Twiggy Rowley at Project Gold, Creed has played a key role in supporting that trajectory, helping solidify Charli’s position as one of the most influential U.K. artists on the world stage. “The U.K has been a second home to me throughout my career,” he says. “Its musical culture is genuinely unmatched in its ability to shape global taste.”

Coldplay Management

Phil Harvey, manager
Arlene Moon, manager 
Mandi Frost, manager

There aren’t many things that qualify as new experiences for Coldplay these days, but their debut performances in India in 2025 won’t be something they’ll forget in a hurry. The four-piece played to over 110,000 fans on consecutive nights at the Narendra Modi Stadium in Ahmedabad, Gujarat — two of the largest stadium shows to have taken place this century. While ticking a new country off their list may have been something of a novelty to the well-travelled Chris Martin-led band, setting new standards is essentially what Coldplay do now for fun. A majestic 10-night run at Wembley Stadium rounded off the latest leg of their mammoth Music of the Spheres tour (taking their total number of Wembley gigs on this tour to a record-breaking 16), with total ticket sales surpassing 13 million, officially the highest-attended tour in music history.

Day One Music

Nick Shymansky, Founder, Day One Music

“Watching Lola [Young] perform and win at the Grammys is a moment I will cherish forever,” says Shymansky. “Knowing everything we all went through to get there made it mean that much more, and it was a reminder of what’s possible when you back someone all the way.” Young’s longtime manager has guided the London songwriter to the mainstream, landing a global smash with “Messy.” The growing Day One Music roster includes Sofia & The Antoinettes, Not Billy, Kid 12, Avi Barath and Manuka, rising stars with “one-off talent, complexity, and a vision worth fighting for.”

Extended Play

Paul Jeboda, Artist manager, Extended Play
Eric Parker, Artist manager, Extended Play

Parker and Jeboda form the management team behind Luton-raised songwriter Myles Smith, one of British music’s most remarkable success stories in recent years. The 27-year-old’s folk-pop anthem “Stargazing” has surpassed a billion streams and hit No. 1 on Billboard’s Pop Airplay chart twice, while Smith has sold out a U.K. & Ireland arena tour ahead of the June release of his debut LP, My Mess, My Heart, My Life. These milestones are “a reflection of the trust he’s built with his audience, and the work we’ve done as a team,” Parker affirms.

Future History

Ryan Richards, CEO and artist manager, Future History Management

2025 was a banner year for Future History and its expanding roster of rock acts. British metalcore phenomenon Sleep Token crowned its nearly decade-long rise with a No. 1 album on both sides of the Atlantic, while Those Damn Crows celebrated its first U.K. No. 1 on the Official Albums Chart. “Both were very different campaigns in their approach and execution, so to see both result in entries of the summit of the charts was a great feeling,” says Richards. In December, the firm appointed Jameson Roper as partner and president of U.S. operations, adding Bilmuri and Wage War to its client list.

Gaiety Management

Caroline Downey, Artist manager, Gaiety Management

Downey has overseen a standout 12 months for Hozier, anchored by the continued rollout of his Unreal Unearth campaign, which over the past few years has featured a Billboard Hot 100-topping hit in the form of “Too Sweet” and powered the Irish act to feature on Billboard’s Year-End artist charts in 2025. Alongside a headline slot at Reading & Leeds Festival, the 36-year-old sold out shows in cities across North America, Brazil, Chile, Argentina, Colombia and the U.K., with cumulative attendance surpassing seven figures. This increased touring demand has reinforced Hozier’s position as a leading international live act under Gaiety’s management and artist development strategy. 

Grumpy Old Management

Stuart Camp, Manager (Ed Sheeran), Grumpy Old Management

In the past year, Grumpy Old Management — who represent Ed Sheeran, alongside ascendant pop star Maisie Peters — has focused on expanding its operations in order to “better support our artists across all aspects of their careers,” says Camp. Sheeran’s Play LP became his ninth U.K. No. 1 album last September, while the global superstar is currently in the midst of his all-new Loop tour, hitting stadiums across North America. For the rest of 2026, Grumpy will lead the debut campaigns of U.K. rock-pop vocalist Dylan and German songwriter Sebastian Schub, two acts that Camp and his team are “really excited about.”

Maverick

Scott Rodger, Manager (Paul McCartney), Maverick

In the past 18 months, Maverick — the management company behind Paul McCartney, Shania Twain and more — has “focused on building meaningful, long-term projects around our artists that extend beyond traditional release cycles,” says Rodger. McCartney’s upcoming record The Boys Of Dungeon Lane “captures rare and revealing glimpses into previously untold memories, alongside a set of newly inspired love songs,” and was preceded by the Paul McCartney: Man on the Run documentary and multiple merchandise lines. Twain, meanwhile, is set for “a major return to the stage”, including joining Harry Styles for a 12-night run at Wembley Stadium.

Oasis Management 

Marcus Russell, Partner, Ignition Management
Alec McKinlay, Partner, Ignition Management
Debbie Gwyther, Director, Fear
Sam Eldridge, Founder and president, UROK

“Oasis Live ’25 was a privilege to be a part of,” reflect Russell, McKinlay, Gwyther and Eldridge, the four principal managers behind last year’s triumphant reunion tour, in a joint statement. More than 10 million fans from 158 countries tried to buy tickets for the band’s initial run of U.K. and Ireland stadium shows, launching a sold out 41-date world trek. The management team said they “worked tirelessly together” to fulfill the Gallagher brothers’ “unwavering desire and dedication to create an unforgettable and communal night for all the fans who had waited so long for this moment.” A documentary film of the tour will be released in cinemas in September.

Phantom Music Management

Rod Smallwood, CEO, Phantom Music Management 

“The past 18 months of Iron Maiden have been extremely successful, and busy!” says longtime manager Smallwood. More than 1.5 million fans attended the heavy metal band’s 50th anniversary Run for Your Lives World Tour, which grossed over $150 million in 2025. The trek continues through Europe, North and South America, Australia and Japan this year, and will also see the group hold its own EddFest weekend in the United Kingdom in July. Smallwood says his team’s “multi-pronged” strategy, which includes a recently-released documentary film, “enabled us to cement Iron Maiden’s truly global cultural status.” In November, the band will be inducted into the Rock & Roll Hall of Fame in Los Angeles.

Radical Management 

Dukagjin Lipa, Managing director, Radical22 Management

After taking over the management reins for his pop superstar daughter, Dua, in 2022, Dukagjin Lipa and his team have worked to expand the 30-year-old’s business endeavours, developing her debut skincare brand and newsletter Service95, alongside brand partnerships. December 2025 saw the culmination of Dua’s blockbuster Radical Optimism world tour, spanning 92 sold-out gigs in 41 cities across four legs, which landed on Billboard’s Year-End Top Tours charts. “I’m infinitely proud of the team for delivering a world class show every night,” says Lipa, adding that the touring party had access to a welfare officer, a psychotherapist, a yoga instructor and a physiotherapist along the way. “It’s been a fantastic year,” he adds.

Rocket Entertainment

David Furnish, CEO, Rocket Entertainment
Rachael Paley, Marketing and promotions director/artist manager, Rocket Entertainment

Elton John had two albums top the Official Albums Chart in 2025 with greatest hits collection Diamonds and acclaimed collaboration with Brandi Carlile, Who Believes In Angels?, giving the legendary artist his ninth and 10th U.K. No. 1 albums, respectively. Last year also saw John and Furnish honored with the Creators’ Champion Award at Billboard’s Global Power Players event in London in recognition of their work defending artists’ rights. “We are so lucky to work with an artist who is as passionate, engaged and relentlessly future facing as Elton,” his manager and husband says. “He never rests on his laurels: creating, writing, recording, lobbying [the] government, championing the next generation of artists [and] helming his AIDS Foundation.”

Yo&Co Management

Emily Braham, Managing director, Yo&Co Management

Braham has played a pivotal role in British pop star Olivia Dean’s continued ascent, overseeing a campaign that evolved from intimate venues to arenas while preserving a strong artist-first philosophy. “I am so proud of how our entire team has handled the scaling of the project, whilst maintaining our core ethos and capacity for support and kindness,” she says. Central to that growth has been a live show defined by “elegance and grace,” supported by a touring operation built on care and precision. The result is a fan experience rooted in “understanding, growth and connection” — a team effort Braham credits with immense pride.

Publishing

Concord Music Publishing

Kim Frankiewicz, Executive vp international A&R, Concord Music Publishing
Tom Coulson-Smith, vp A&R, Concord Music Publishing

“This year has really validated our long-term approach: building a highly curated roster of songwriters and producers who can operate at the very top of the market while also helping to shape the next wave of talent coming out of the U.K.,” says Frankiewicz. Since the start of 2025, Concord writers have featured on 12 No. 1 albums in the United Kingdom, including Biffy Clyro’s Futique and Olivia Dean’s The Art of Loving. Coulson-Smith was promoted to his role in July to focus on developing new artists in the U.K. and globally. “Next generation” signings like Jacob Alon and Divorce “reflect the depth and future-oriented nature of the roster,” says Frankiewicz.

Kobalt Music 

Kenny McGoff, Executive head of creative U.K. and GSA (Germany, Switzerland, Austria), Kobalt Music

McGoff’s team has had plenty to celebrate over the past 12 months. In February, Kobalt-signed Sam Fender picked up two BRIT Awards, adding to the Mercury Prize he won in October for People Watching, the biggest new British album release of 2025 with more than 278,000 chart sales, according to the Official Charts Company. Other standout achievements include a U.K. No. 1 for MK (“Dior”) and top five placement Bolton-based DJ Chrystal, in addition to streaming successes for The Last Dinner Party, South Arcade and Soft Play. McGoff praises his U.K. staff for reaching “another level” on behalf of Kobalt’s songwriters. He adds: “The care and passion for each other in helping achieve our goals is something that inspires me every day.”

Sony Music Publishing

David Ventura, President & co-managing director, U.K. and Senior vp international at Sony Music Publishing 
Tim Major, President & co-managing director, U.K., Sony Music Publishing

With the likes of Olivia Dean, Lola Young and Yungblud populating their talented roster, Sony Music Publishing (SMP) have been able to toast win after win after win over the past 18 months. Case in point: Dean’s multiple triumphs at the 2026 BRIT Awards, as well as her statement victory in the coveted best new artist category at the 2026 Grammys. “It feels like an amazing time for British music,” says Ventura. “All of the many SMP U.K. songwriters who achieved international success this year have, of course, come as a result of their hard work, dedication and creativity. We’re very proud to represent them and elevate their music.”

Universal Music Publishing

David Gray, Managing director, U.K. and head of global A&R, Universal Music Publishing Group
Jane Carter, President, Universal Production Music

Under Gray’s stewardship, the U.K. arm of Universal Music Publishing Group continues to push forward with Beabadoobee, Wraith9 and in-demand Olivia Dean producer Zach Nahome among its standout recent signings. Carter heads the publisher’s production music division and is a passionate advocate for equality and sustainability in the industry. Among her proudest achievements are the 100% HER program — which has led to more than 800 female composers joining the company’s roster — and the Green Production Music scheme generating a catalog of over 1,000 eco-friendly tracks. “Together,” says Carter, “these initiatives are shaping a more sustainable and inclusive future for production music.”

Natasha Baldwin, President, Global Classics, Jazz & Screen, Universal Music Group & Universal Music Publishing Group

Baldwin, who first joined Universal Music Group in 2016 to launch Decca Publishing, continues to elevate the global profile of classical, jazz and screen music through her leadership. This year, she oversaw the international success of Max Richter’s Academy Award-nominated Hamnet score, with the campaign culminating in a live performance at London’s iconic Southwark Cathedral. Baldwin has also expanded Universal Music Publishing Group’s roster with signings including Oneohtrix Point Never, Jerskin Fendrix, and Yu-Peng Chen, allowing the publishing company to further broaden its reach across film, gaming, and contemporary composition.

Warner Chappell Publishing

Shani Gonzales, Managing director, Warner Chappell Music U.K. & Head of international A&R

Gonzales says that Warner Chappell’s mission “has been to cultivate a creative hub for boundary-pushing songwriters and producers” and that recent signings Charlie Jeer, cktrl, GRADES, and Moliy “are actively shaping the future of the U.K. music scene.” For the present? RAYE, of course, who Gonzalez says was “central to [Warner Chappell’s] year,” adding that the Londoner’s rise is “a masterclass in what happens when world-class songwriting meets unwavering ambition.” He concludes, “by bridging our local expertise with Chappell’s international A&R network, we ensure our writers, from those just starting out to those topping global charts, turn their creativity into lasting cultural impact.”

Streaming

Amazon Music U.K.

Laura Lukanz, Head of music industry, Amazon Music U.K.

“The team has delivered some outstanding campaigns over the last 12 months, but this past Christmas was a landmark moment for Amazon Music in the U.K.” Lukanz says. A collaboration with Kylie Minogue delivered a No. 1 album with Kylie Christmas (Fully Wrapped) and the U.K.’s Official Christmas No. 1 Single with the Amazon Original “XMAS,” a first for the platform. The wider fan-focused strategy has seen Amazon Music work across major releases from Oasis, Lola Young, Little Simz and Ed Sheeran, while strengthening its foothold in the highly competitive Christmas window. “What makes me most proud goes beyond the chart success,” she adds, citing the “creativity, dedication and ambition” behind the Kylie rollout.

Apple Music

Sam Benjamins, Head of Apple Music, U.K. & Ireland

“There’s enormous potential to redefine how music platforms serve both creators and listeners,” says Benjamins, pointing to Apple Music’s continued focus on artist-first strategy in an increasingly algorithm-driven landscape. Since stepping into the role, Benjamins has prioritized deeper artist engagement, from supporting emerging talent through Apple Music Radio shows like Elton John’s Rocket Hour to championing homegrown artists including Olivia Dean and Skye Newman. He also highlights innovations such as the platform’s DJ Mix capability, which enables high-quality spatial audio while compensating all contributors, alongside dedicated experiences like the Classical app. “We believe human curation creates deeper, more meaningful connections between artists and fans,” he adds.

Spotify

Safiya Lambie-Knight, Head of music partnerships, northern Europe, Spotify
Andy Sloan-Vincent, Head of music, Europe, Spotify

Reflecting on the past year, Lambie-Knight spotlights having “the privilege of working with so many incredible artists who are shaping music culture locally and also making a significant impact on the global stage.” She notes that “that pipeline of exceptional talent shows no sign of slowing down,” as Spotify continues to operate across both fan discovery and scale. Sloan-Vincent, meanwhile, frames its the streaming platform’s impact more broadly, citing a “return to confidence” in the U.K. market, with breakthrough artists such as Olivia Dean, Lola Young and RAYE winning major accolades at the Grammys and BRITs, as the platform maintains its position as a leading global retailer.

YouTube

Lizzie Dickson, Head of Music U.K., YouTube

“After spending the last 18 months celebrating 20 years of YouTube,” Dickson says, she’s most  “proud of the $8 billion we pay out to the music industry” and the cultural impact the platform has on U.K. music culture. That reach extends across formats, from official music videos by artists like Dave, Olivia Dean and PinkPantheress to culture-defining DJ sets such as Fred again.. and Daft Punk’s Thomas Bangalter, as well as live sessions like RAYE’s Abbey Road performance. Dickson highlights how YouTube has also amplified major cultural moments, including the BRITs, positioning the platform as a central hub for both discovery and engagement. “Our platform continues to be a rabbit hole for global music fans to fall into,” she adds, underlining its role in connecting artists and audiences worldwide.

Live

AEG

Jim King, CEO, AEG Presents U.K. and European Festivals, AEG Presents
Steve Homer, President, U.K. Touring, AEG Presents
Adam Wilkes, President & CEO, AEG Presents Europe & Asia Pacific, AEG Presents

The renowned concert promoter and festival producer assembled a formidable line-up for the 2025 edition of their ever-popular BST Hyde Park series. Sabrina Carpenter and Zach Bryan each headlined two nights in the central London park, while standout shows also came from fellow bill-toppers Olivia Rodrigo, Stevie Wonder, Neil Young and Noah Kahan. AEG also enjoyed a record-breaking year across their European operations, driven by their premier London venue The O2 hosting 239 arena performances (a 19% increase on 2024) and selling over 2.9 million tickets in 2025 — an impressive 11.5% increase on the previous year.

DF Concerts

Geoff Ellis, CEO, DF Concerts

Ellis took a fond trip down memory lane in 2025. “Back in 1993, an unknown band called Oasis turned up at King Tut’s Wah Wah Hut in Glasgow asking to play that night,” he recalls about the DF Concerts-owned venue’s place in Britpop history. “To find ourselves in February 2025 celebrating 35 years of the venue while co-promoting three nights of Oasis at Murrayfield Stadium genuinely felt like a full circle moment.” Such moments, Ellis adds, “make this job so meaningful”. Recently, DF have formed strong relationships with the likes of Lewis Capaldi, Olivia Dean and Charli xcx, and Ellis remains steadfast in his belief that the live ecosystem continues to rely on a mix of “grassroots venues, faith in new artists and fans who show up early in an artist’s career”.

Festival Republic

Melvin Benn, Managing director, Festival Republic

Headline sets from Chappell Roan, Sting, Bring Me The Horizon and Basement Jaxx helped deliver another successful summer season for Live Nation-owned Festival Republic in 2025. This year looks set to be just as busy with the new Americana-inspired festival State Fayre and return of Lovebox enhancing the firm’s U.K. portfolio, which also includes Latitude, Wilderness, Electric Picnic, and Reading and Leeds. Festival Republic’s Wireless festival, however, was canceled following backlash to Benn’s controversial decision to book Kanye West as a headliner for the festival.

Live Nation

Denis Desmond, Chairman, U.K. & Ireland, Live Nation
Phil Bowdery, Executive vp of international touring, Live Nation U.K.

Desmond described 2025 as a record-breaking year for Live Nation in the U.K. “with over 20 million tickets sold including 70 stadium shows.” Oasis’ Live ‘25 comeback and Black Sabbath’s farewell concert were among the standout moments for him, at both of which it was “wonderful to see happy fans of all generations enjoying themselves.” Bowdery has enjoyed the responsibility of promoting tours by Harry Styles and Dua Lipa, as well as international names such as Beyoncé and Bruce Springsteen. “Across both established and emerging artists,” he concludes, “my focus remains on doing the work well and continuing to raise the bar.”

Marshall Arts

Barrie Marshall, Chairman and managing director, Marshall Arts

For Marshall, “relationships are the foundation of everything we do” at Marshall Arts. The company’s chairman says he feels “incredibly privileged to maintain longstanding partnerships” with the likes of P!nk, Lionel Richie and Paul McCartney, who landed on Billboard’s Year-End Touring charts in 2025. That personal connection with musicians, he adds, also remains a crucial component of the live music experience in what is a “complex and shifting period” for the medium. “In a world filled with technology and endless entertainment options, live music is still the only thing that feels truly authentic,” he says. “The connection between the artist and the audience is something special, something you can’t replicate.”

Oak View Group

Gary Hutchinson, Executive vp, Global Touring & Content, Oak View Group

Frequently delivering “exceptional commercial results and unforgettable cultural moments” through its comprehensive live music offerings, OVG — along with Hutchinson’s other majorly influential venture, Chrysalis Leisure Management — is now firmly among the U.K. live industry’s elite. 2025 cemented this lofty standing, with Beyoncé’s six‑night Cowboy Carter residency at Tottenham Hotspur Stadium and Black Sabbath’s Back to the Beginning farewell show at Villa Park (the highest‑grossing charity concert in U.K. history, raising £140m) just two prominent examples. OVG’s slate this year includes huge stadium shows across the U.K, from Bad Bunny, Zach Bryan, Foo Fighters and the returning BTS.

SJM Concerts

Simon Moran, CEO, SJM Concerts

Even by their normally prolific standards, SJM had a very busy 2025. Among their promotion of 2,440 live shows in the U.K. was Coldplay’s record-breaking 10-night residency at Wembley Stadium, Oasis’ 17-date reunion tour (in partnership with Live Nation) and Sam Fender’s biggest headline show to date at the London Stadium (82,500 tickets sold). SJM also presented Radiohead’s four-show residency at The O2 (marking the band’s first U.K. gigs since 2017) and brought the likes of Lorde, Wolf Alice and Gracie Abrams to venues across the country. 2026 will see the promoter running outdoor shows by the likes of Foo Fighters, My Chemical Romance and Take That.

Agencies

CAA

Emma Banks, Co-head of global touring, CAA
Mike Greek, Co-head of international touring, CAA

“Over the past 18 months, the live music landscape has been defined by the undeniable dominance of female artists reshaping the arena business and setting a new standard for global success,” says Greek. CAA’s roster includes many of the current leading lights, having booked and supported big-ticket tours for Olivia Dean, Lorde, Kylie Minogue, Florence + The Machine, Katy Perry, Charli xcx, Sabrina Carpenter, Tate McRae, Ariana Grande and more. As the likes of Lily Allen and Zara Larsson also hit new career highs by jumping from theatres to arenas, Greek states that CAA “is proud to support and amplify this extraordinary wave of talent as they command stages worldwide.”

Primary Talent International

Matt Bates, CEO and managing partner, Primary Talent International

“It’s a proud moment at Primary Talent International,” says Bates. In 2026, the music booking agency is celebrating 35 years as an independent entity, with a roster that spans artists like The Cure, Wolf Alice, and Kings Of Leon alongside Mitski, Kneecap, and Ethel Cain, all of which have delivered defining moments on U.K. festival stages in recent years. “We’ve worked hard to connect our clients with U.K. fans in ways that are genuinely meaningful,” continues Bates, adding that the “breadth and vitality” of the company’s roster speaks to “the enduring appetite of U.K. and European audiences for bold, authentic music.”

Solo Music Agency

John Giddings, Music agent, promoter and founder, Solo Music Agency

Giddings has continued to demonstrate his influence across the U.K. live sector, driving standout moments that cut through a competitive global market. Recent highlights include reforming the Sex Pistols with Frank Carter as frontman, delivering another sold-out Isle of Wight Festival, and arranging a surprise collaboration between actress Rebel Wilson and The Kooks at Reading Festival 2025 — an unexpected crossover that generated social media buzz. Performers at the 2026 Isle of Wight Festival include headliners Lewis Capaldi, Calvin Harris and The Cure, alongside Wet Leg and Teddy Swims.

THE·TEAM

Alex Hardee, Executive vp & managing executive, THE·TEAM
Tom Schroeder, Executive vp & managing executive, THE·TEAM
James Whitting, Executive vp & managing executive, THE·TEAM

“The last year has been a period of real momentum and investment across THE·TEAM’s business in the U.K.,” says Schroeder, reflecting on a major period of expansion. Nearly 700 colleagues across music, brands and sports have been brought together under one roof, strengthening collaboration and artist services. The music division has grown with key agent hires including Paul Ryan, Ishsha Bourguet and Belinda Law, alongside promotions for Lucy Putman and India Lawson. The company has also launched a podcast division and scaled its global tour marketing, supporting a roster that includes Lewis Capaldi, Fred again.., and RAYE.

UTA

Neil Warnock, Co-head U.K. music and Global head of touring, UTA

Warnock has been instrumental in strengthening UTA’s touring business, overseeing a period of significant international expansion for the agency’s roster. Working closely with his team, he has helped drive a sustained run of global touring activity for artists including Bad Bunny, Rosalía, David Byrne and Sammy Virji, proving that “London can be a true launchpad for worldwide live careers,” he says. The achievement that “means most to me personally,” he continues, is seeing James Wright and Jules de Lattre become partners at UTA. “It’s recognition not just of their skills as first‑class agents, but of the thoughtful, trusted leaders they’ve grown into at UTA.”

WME

Josh Javor, Partner and head of London music, WME

Luton-raised Myles Smith’s forthcoming arena tour “is off to a flying start,” says Javor, with nine sold-out dates across the U.K. and Ireland for November 2026, including a night at the 20,000-capacity O2 Arena in London. For the international booking agent, another recent highlight has been Coldplay performing a massive 10-night run at Wembley Stadium last summer, which saw the band continue to push the benchmark for sustainable touring — from cutting emissions and scaling renewable energy use to incentivising low-impact travel for fans — proving that even the largest shows can be delivered with a reduced environmental footprint.

Rights Organizations

PPL

Peter Leathem OBE, CEO, PPL

“At PPL, our focus is on maximizing value for our members and ensuring they are fairly rewarded for their work,” says Peter Leathem, pointing to a year of strong financial performance for the organization. In 2025, PPL collected £315.3 million and paid over 182,000 performers and recording rightsholders, with international revenues rising 16% year-on-year to £94 million. The milestone also marks 20 years of its international business, which has now delivered more than £1 billion in revenue. Leathem highlights the organization’s global reach, with 117 agreements across 55 countries, alongside new artist mandates including Mariah Carey and Charli xcx. “These strong financial results demonstrate the momentum we have built,” he adds, reinforcing PPL’s ambition to be “the first choice globally for neighboring rights.”

PRS For Music

Andrea Czapary Martin, CEO, PRS For Music

“One real standout for me was the introduction of monthly payments for online streaming, giving songwriters and composers faster access to earnings and clearer insights into how their works are performing,” says Czapary Martin, highlighting how PRS For Music is adapting to the speed of today’s creator economy. The change marks a move toward more frequent and transparent royalty distributions for members. She also points to the continued strength of the live sector, with U.K. revenues surpassing £100 million for the first time, as more than 37,600 members, including a quarter of all first-time earners, were paid for performances last year.

Associations

Association of Independent Music (AIM)

Gee Davy, CEO, Association of Independent Music (AIM)

Now in its 28th year, AIM remains a tireless champion of independent music labels and businesses in the U.K., ensuring the sector “continues to exist and grow on its own terms,” Davy says. Recent wins for the not-for-profit organization’s 1,000-plus members, which features Because, Beggars Group and Domino, include the U.K. government abandoning its plans to allow AI companies to use copyrighted works without permission, following strong opposition from across the industry. “We are not just defending independence against external pressures,” adds Davy. “But defining the rules, values and conditions under which the U.K.’s independent music sector is evolving in the age of platform power and AI.”

Black Lives in Music

Dr. Charisse Beaumont, CEO, Black Lives in Music

“We remain focused on turning insight into action,” Dr. Beaumont says about Black Lives in Music’s mission to “push forward meaningful, structural change” across the music industry. From advancing their ongoing work providing equitable access and representation for Black and Global Majority music creators to delivering research that informs change at government level, the organization is continuing to make purposeful strides forward in combating systemic racism in the industry. Keep an eye out, Dr. Beaumont adds, for two upcoming projects from BLiM: Race Equality in Music Events Licensing and EquiTrack, “a solution-driven technology platform designed to support organizations in meeting their anti-racist, social equity and social value commitments”.

BPI

Dr. Jo Twist, CEO, BPI

“It’s been a very busy but incredibly rewarding 12 months, and our brilliant team has been firing on all cylinders,” says Twist, who has been at the helm of the U.K. record labels association since summer 2023. “There’s a lot to be proud of.” Both The BRIT Awards and the Mercury Prize have moved outside of London in the past year — to Manchester and Newcastle respectively — which were accompanied by BPI-curated Fringe events that drove local investment. Other key initiatives have included the Music Export Growth Scheme, the British Music Embassy at SXSW, and the LA Sync Mission.

The Ivors Academy

Roberto Neri, CEO, The Ivors Academy

“Songwriters and composers are the most valuable people in music — everything is built on their creativity,” says Neri, framing The Ivors Academy’s continued push to centre creators in industry conversations. Over the past year, that has translated into tangible gains, including securing session per diems for songwriters and expanding the Academy’s footprint in Ireland. Neri also points to ongoing advocacy around fairer contracts and remuneration, particularly as AI reshapes the business. “There is no music industry without music creators,” he adds, “and the future of our business depends on protecting their livelihoods.”

LIVE

Jon Collins, CEO, LIVE & LIVE Trust

The “central aim” of the pioneering LIVE Trust, says Collins, “is to provide a consistent and respected voice for U.K. live music with policymakers at a national, regional and local level.”  Set up by the British live music industry to support the country’s grassroots music scene, it raises money mainly through a voluntary £1 contribution from tickets sold at big-ticket stadium shows; that funding is then distributed to help small venues. In the last 18 months, the LIVE Trust has “gone from a simple idea to a multi-million pound charity”, with major pledges from the likes of Harry Styles, Olivia Dean and Sam Fender.

Merlin

Charlie Lexton, CEO, Merlin

Appointed CEO at Merlin back in January, Lexton is keen to highlight the digital rights agency’s “significant” partnerships with AI firms like ElevenLabs and Udio. Demonstrating that commercial agreements can be reached between such companies and music rightsholders, Merlin remains open “to doing business with partners who respect copyright,” Lexton states. Placing the interests of rightsholders at the heart of these deals (artists and labels must have “the ability to control the use of their intellectual property”), Merlin’s approach feels refreshing amid the lingering uncertainty over AI’s presence in the creative industries. “Not only have we found great partners,” Lexton adds, “we have demonstrated that it is possible for AI companies to build music products without looking for exceptions to existing legal frameworks.”

Music Managers Forum

Annabella Coldrick, CEO, Music Managers Forum

With over 1,200 members in the U.K. and spearheaded by an all-female leadership team, the Music Managers Forum works to “drive a greater understanding of the vital work that managers deliver on a day-to-day basis,” explains Coldrick. In pursuit of a “fairer, more transparent” music industry, the MMF have dedicated efforts to a “concerted push on professional development” for its members, something that Coldrick says is best encapsulated by the Accelerator programme developed in partnership with YouTube Music. “The impact has been astonishing,” she notes, Coldrick, adding that it has invested in more than 150 independent music managers.

Music Venue Trust

Mark Davyd, CEO, Music Venue Trust

Through their lobbying work, the Music Venue Trust has raised awareness of the challenges facing independent venues in the U.K., helping drive initiatives like a government-supported £1 ticket levy on arena and stadium shows to fund grassroots music spaces. Alongside this policy breakthrough, Davyd says the charitable organization has “continued to deliver practical outcomes at scale,” including maintaining a 97.6% success rate in planning protections. “We are not just trying to stop venues from closing anymore,” Davyd adds. “We are building the financial and structural foundations that allow the grassroots sector to survive, stabilize and grow.”

U.K. Music

Tom Kiehl, CEO, U.K. Music

“I am immensely proud of the work that UK Music achieved to deliver the groundbreaking Black Music Means Business report,” says Kiehl. As the first study of its kind in Europe, the report establishes Black music as a central economic force within the U.K. music industry. Kiehl highlights how the findings, developed in collaboration with U.K. Music’s Board, Diversity Taskforce and executive team, are now shaping conversations across government and wider industry. “Its recommendations tackle the opportunity gap that Black Music continues to face,” he adds, positioning the work as a blueprint for future growth across the £8 billion sector.

Barry Can’t Swim has shared his first song of 2026, “Return to Bhibo,” alongside news of a new record deal.

The Scottish DJ and producer has joined Atlantic Records for his forthcoming releases, having previously partnered with Ninja Tune on his first two studio albums, When Will We Land? (2023) and Loser (2025). The former was nominated for the U.K.’s Mercury Prize, which recognizes an outstanding album by a British or Irish artist.

Barry Can’t Swim is the latest U.K. artist to sign with the iconic label following rising pop act Erin LeCount. He now joins Fred again.. as one of the label’s premier dance acts.

The news comes hot on the heels of Barry Can’t Swim’s two recent U.S. festival performances at Lightning in a Bottle and Movement, as well as the release of his compilation for legendary mix series Late Night Tales in March as part of its 25th anniversary celebrations. He has been teasing the release of “Return to Bhibo” in a number of live sets and DJ mixes.

The Edinburgh, Scotland-born musician, real name Joshua Spence Mainnie, drew critical acclaim for his 2023 debut album When Will We Land?, which peaked at No. 12 on the U.K.’s Official Albums Chart. The following summer, he drew one of the largest-ever crowds at Glastonbury’s Park Stage.

The following summer, Barry Can’t Swim headlined London’s All Points East festival and curated the line-up, which included Shygirl, Avalon Emerson and Confidence Man. Loner, his sophomore LP, included “Still Riding,” a remix of Kali Uchis’ breakout 2015 song “Riding Round”.

Speaking to Billboard in 2025, Barry Can’t Swim discussed the pressure of generating new material to satiate his growing crowds. “If you’re doing these kinds of shows, you need bigger tunes,” he said at the time. “I’ve only just gotten to that point — it’s only now that I’m starting to think like that a little bit.”

If you sue Nelly, you’d better be sure you’re right.

A federal judge ruled Thursday (May 28) that attorneys for one of his former St. Lunatics bandmates must repay more than $67,000 that the star spent on legal bills defeating a “frivolous” lawsuit over the rights to his debut album Country Grammar.

The case, filed by ex-St. Lunatics member Ali (Ali Jones), was voluntarily dropped last year after Nelly (Cornell Haynes) argued it was filed years after the statute of limitations had expired. But a judge later ruled that the case was so bad that Ali’s lawyer should reimburse the star’s legal bills as punishment.

On Thursday, a judge handed Ali’s attorney the tab: $67,586 for more than 150 hours of legal work done by Nelly’s three lawyers. The lawyer, Precious Felder Gates, had argued that Nelly’s pricey demands were excessive, but the judge largely rejected those arguments.

The ruling highlights the risk of filing lawsuits against well-heeled defendants — and a potential weapon for top musicians who have complained about a rise in such cases. Ed Sheeran, Cardi B, Jay-Z and many other stars have warned that such lawsuits are often aimed at extracting quick settlements by exploiting the hassle and expense of litigation.

Felder Gates did not immediately return a request for comment. Nelly’s lead counsel, Kenneth D. Freundlich, said: “Courts have limited patience for litigation used as a weapon rather than a remedy. Frivolous litigation isn’t free.”

Nelly was sued in 2024 by his former bandmates in the St. Lunatics, a hip-hop group also composed of Murphy Lee (Tohri Harper), Kyjuan (Robert Kyjuan) and City Spud (Lavell Webb). It centered on Country Grammar, the star’s debut solo album that spent five weeks atop the Billboard 200 and helped launch a career that reached superstar heights with his 2002 chart-topping singles “Hot in Herre” and “Dilemma.”

The case claimed Nelly cut his former crew out of the credits and royalty payments after they worked on the hit solo album. But three of them quickly dropped out, saying they had never actually wanted to sue and hadn’t given authorization to the lawyers who filed the case. Ali initially moved ahead alone, but dropped the case entirely in April 2025 after Nelly’s lawyers argued the decades-delayed case was clearly not allowed under the Copyright Act’s three-year statute of limitations.

Though the lawsuit was over, Nelly’s attorneys refused to let Ali and his lawyers walk away. They asked for sanctions — meaning legal penalties — over a “vexatious” lawsuit that “should never have been brought.” And in October, a judge agreed, ruling that it should have been “patently obvious” to Felder Gates that the case was doomed but that she had instead “doubled down.”

After Nelly’s lawyers asked for $78,007, Felder Gates argued it was unreasonable — that the hours worked were excessive and that the hourly rates were too high. But the judge was unswayed, ruling that the case required detailed work and that the rates were “in line with both the prevailing market rates and the rates charged by attorneys of similar experience.”

An appeals court has ruled that George Clinton must face a trial to determine whether a portion of the Parliament-Funkadelic catalog is co-owned by the heirs of late keyboardist Bernie Worrell.

In September, a federal judge in Detroit threw out the lawsuit brought by Worrell’s widow after determining that the statute of limitations had long expired. But the Sixth Circuit Court of Appeals reversed that dismissal on Wednesday (May 27), holding that it’s up to a jury to decide whether the claims are timely or not.

“The estate has successfully pointed to facts potentially rendering this the rare case in which a copyright-ownership claim may be brought a half-century after-the-fact,” wrote a panel of three appellate judges in the ruling, obtained by Billboard.

The dispute stems from a 1976 contract between Worrell and Clinton, in which the keyboardist released his ownership stake in the P-Funk masters in exchange for recorded royalties. This led to numerous court battles over the years about how to properly split these royalties, both during Worrell’s life and after his death from lung cancer in 2016.

The pivotal moment came in one such lawsuit in 2020, when Clinton’s attorneys claimed for the first time that the 1976 deal was null and void because Clinton never signed it. This led the Worrell estate to try a new tack and file the current lawsuit, which alleges that Worrell never stopped owning his share of the masters in the first place.

According to the Sixth Circuit, it remains unclear whether the statute of limitations for these claims expired decades ago or only began running in 2020. However, the judges said a trial is only appropriate on the songs expressly covered in that contract — those created between 1976 and 1979 — and not the entire catalog from Worrell’s time in P-Funk between 1969 and 1981.

Clinton’s lawyers had separately argued that the case should be thrown out because there’s insufficient evidence of Worrell co-creating these P-Funk songs. The Sixth Circuit rejected this too on Wednesday, saying there’s clearly enough fodder for a jury to decide otherwise.

“To start, we need look no further than Clinton’s own admissions. He recognized in this litigation that Worrell ‘radically charted the course of emerging keyboard technology during the golden age of analog synthesis,’ and that he brought to the table a ‘sonic stew’ including ‘perfect pitch and a well-honed facility with a classical canon,’” wrote the panel. “These statements contradict any suggestion that Worrell was just a session player or hired hand.”

The case will now head back down to the federal district court to prepare for a trial, unless a settlement is reached. The Worrell estate’s lead lawyer, Richard Busch, said in a statement that the Sixth Circuit’s ruling “is a great step in the right direction.”

“Bernie Worrell was the heart and soul of Parliament-Funkadelic but had to spend years of his life chasing Mr. Clinton for what he believed Mr. Clinton owed him,” added Busch, who argued the appeal. “While he is no longer with us, Bernie’s loving wife Judie continues to fight for Bernie’s rights.”

Clinton’s attorney, Jim Allen, said in his own statement, “We respectfully disagree with the Sixth Circuit’s decision and believe it requires some unusually large leaps in logic, metaphysics and precedent to transform a disputed, judicially-invalidated 1976 agreement into a springboard for copyright claims fifty years later.”

Allen emphasized, however, that the ruling “is extraordinarily narrow” and allows for a trial on only “a tiny fraction of the decades-long body of work George Clinton created and led.”

“We also look forward to finally litigating this case in a courtroom rather than through the fog of mythology, revisionist history and shadow-boxing conducted by interests that have been hovering around the P-Funk business empire for decades without ever quite wanting to step fully into the light,” added Allen. “The Mothership keeps flying. Trial is next. We will prevail.”

Clinton is separately suing Universal Music Group (UMG) for freezing his royalties amid the Worrell litigation. That case remains pending.

Taylor Swift’s longtime lawyer argued in court on Wednesday (May 27) that the First Amendment protects The Life of a Showgirl from trademark claims.

Douglas Baldridge appeared in Los Angeles federal court to oppose Las Vegas performer Maren Wade’s injunction bid. Wade, who puts on a cabaret show called “Confessions of a Showgirl,” alleges Swift’s latest No. 1 album infringes her intellectual property and wants to block The Life of a Showgirl merch sales until the litigation is fully resolved.

Judge Serena R. Murillo opened up the hearing by suggesting that her “real concern” in this case is whether The Life of a Showgirl should be shielded from trademark litigation because the album is a piece of art — that is, a so-called expressive work under First Amendment case law. Wade’s attorney, Jaymie Parkkinen, argued on Wednesday that the answer is no because Swift uses the album title not just for music, but also for a massive “branding campaign.”

Baldridge, who has represented Swift for years as both outside counsel at the firm Venable and in-house during her record-breaking Eras Tour, countered that The Life of a Showgirl is a “classic expressive work.” He cited Lady Gaga’s recent court victory in a similar trademark lawsuit over her Mayhem album on artistic expression grounds.

“That’s why the First Amendment applies here, and that’s why they can’t get a preliminary injunction, much less win the case,” Baldridge said.

Wade, born Maren Flagg, has owned the trademark “Confessions of a Showgirl” since 2015 for her touring cabaret show about the escapades of a modern-day Las Vegas performer. Swift’s company TAS Rights Management sought to trademark the phrase “The Life of a Showgirl” upon the album’s announcement in August, but the U.S. Patent and Trademark Office (USPTO) preliminarily denied the application due to a likelihood of confusion with Wade’s existing mark. The trademark request remains pending.

The Life of a Showgirl debuted atop the Billboard 200 in October with a record 4 million units in its first week, and the album went on to reign atop the chart for 12 weeks. Then came the lawsuit: Wade sued Swift in March, claiming the new era “threatened to swallow” her much smaller business.

During Wednesday’s hearing, Parkkinen argued that Wade’s trademark is “being absorbed in real-time.” He said an injunction would make a huge difference for Wade, while any resulting lost profits for Swift or her label partners at Universal Music Group would be nothing more than a “rounding error.”

Meanwhile, Swift’s attorneys have asserted in response to the lawsuit that there are significant differences between “Confessions of a Showgirl” and The Life of a Showgirl. Pointedly, they noted in a May court filing that while Swift plays sold-out stadiums, Wade “performs, if at all, in small intimate venues, such as a 55+ active community.”

Swift’s camp has also criticized Wade for intentionally associating herself with Swift’s brand on Instagram and TikTok, citing more than 40 posts that featured hashtags like #thelifeofashowgirl, #TS12, #taylorswift and #swifties. On Wednesday, Baldridge pointed to one post in which Wade said she was in her “showgirl era.”

“I don’t know if your honor follows Ms. Swift, but ‘era’ is a pretty big word for us,” said Baldridge.

Judge Murillo did not announce any ruling on the injunction motion during the hearing, saying a written decision would come down “shortly.” Swift’s team has also requested separately to dismiss the lawsuit outright, and that motion remains pending.

Spotify is expanding into a new arena: long-form magazine articles.

On Tuesday (May 26), the streaming service announced it will now host narrated audio articles from outlets including Rolling Stone, The Atlantic, Vogue, Variety, Billboard, Vibe, GQ, WIRED, Vanity Fair and Pitchfork. At launch, the platform is offering more than 650 long-form articles, which are now available in English to users who reside in markets where audiobooks are available. Each narrated article, included in Premium users’ monthly audiobooks allowance, is under two hours long. Free users can buy individual articles for $1.99 each.

“As we have seen with bringing audiences over from podcasts, Articles will allow people to trial shorter, less intimidating listens, opening the gateway to explore longer-form listening like books,” Spotify noted in a blog post about the launch.

“With Articles, we’re introducing long-form journalism in audio as a natural extension of the music, podcasts, and audiobooks people already come to Spotify for, focused on topics we know they love,” said Colleen Prendergast, licensing lead at Spotify Audiobooks, in a statement. “By bringing shorter form content into the mix, we’re meeting audiences where they are to help build healthy listening habits, ultimately growing engagement with books over time.”

“We’re thrilled to partner with Spotify in what we see as a natural synergy between two platforms that celebrate music and culture,” added Julian Holguin, CEO at Rolling Stone. “This collaboration with Articles allows us to deepen the connection between our readers and the artists, stories, and features they care about, while also providing an opportunity for discovery. By making Rolling Stone’s journalism more accessible on Spotify, we’re excited to bring our storytelling to an even wider audience.”

According to the blog post, Spotify has expanded audiobooks into 22 markets since launching just over two years ago and has grown listening hours 60% year over year.