Recorded music is a small but mighty sector” of the world’s business, IFPI CEO Victoria Oakley said as she introduced the organizations’s annual report in March. “It’s a part of the global economy that really matters. Above all, it’s a powerful example of human artistry and connectivity.”
Oakley quantified the impact of that artistry with a report full of good news — mostly. The recorded-music business worldwide grew for the 10th consecutive year, despite concerns raised by generative artificial intelligence (AI) using copyright-protected music to train its systems.
Total recorded-music revenue climbed to $29.6 billion in 2024, a rise of 4.8% on the previous year, with streaming revenue surpassing $20 billion for the first time, representing just under 70% of global recorded-music sales, according to IFPI’s Global Music Report 2025. Similarly, CISAC in October reported that global royalty collections for song rights holders grew 7.6% in the previous year. In the concert industry, Live Nation’s adjusted operating income rose 14% in 2024.
“Today, we celebrate not just these results and these phenomenal artists, but also the amazing hard work that goes into making it happen behind the scenes,” Oakley said.
Those working behind the scenes are celebrated here, on Billboard’s Global Power Players list.
Related
Music Industry 40 Under 40: Executives & Power Players 2025
05/15/2025Nominated by their firms and peers and chosen by our editors from selected industry sectors, these executives have primary responsibility for markets outside the United States, which account for some 60% of the world’s recorded-music revenue.
They work where the action is — or at least, the greatest growth. While the United States held its place as the No. 1 recorded-music market in the world, its revenue increased only 2.2% in 2024, compared with 7.2% in 2023.
Japan, still the world’s second-largest recorded-music market, was flat in 2024. But among the world’s remaining top 10 markets, IFPI reports rates of growth in the United Kingdom (up 4.9%), Germany (up 4.1%), China (up 9.6%), France (up 7.5%), Canada (up 1.5%), Brazil (up 21.7%) and Mexico, the top 10 market where its revenue increased 15.6%. (South Korea was down 5.7%.)
In other regions, recorded-music growth has been even more dramatic. Latin America experienced growth of 22.5%. The Middle East and North Africa, which are almost entirely dominated by streaming, had music sales grow 22.8%, and sub-Saharan Africa recorded a 22.6% rise in revenue to surpass $100 million for the first time, albeit from a modest baseline. Just as the rise of file-sharing dramatically cut the fortunes of the music industry at the turn of the 21st century, today, executives nervously watch the rise of another technology — generative AI — due to its potential and its threat to copyright. Many of the executives profiled in this list cite AI as the biggest issue facing the industry.
IFPI’s presentation in London took place against the backdrop of a campaign in the United Kingdom to oppose proposed changes by the government to copyright law that, if implemented, could let AI developers freely use creators’ content to train their algorithms, unless rights holders “opt out.”
“We are asking policymakers to protect music and artistry,” Oakley said in a statement accompanying the Global Music Report. “We must harness the potential of AI to support and amplify human creativity, not to replace it.”
Fred GillhamManaging director, U.K. and Europe, Concord Label GroupRebecca BermanSenior vp of international, Concord Label Group, Concord
It’s hard to top the success of breakout star Tommy Richman’s “Million Dollar Baby.” Concord’s Berman says the Billboard Global 200 chart-topping smash that also was a massive hit on TikTok and global radio “was a huge achievement for both Richman and Concord,” after its initial U.S. release through ISO Supremacy and Pulse Music Group. In addition, she says that the continued expansion of Concord’s global marketing network has contributed to the label group’s growing prowess around the world. “We have expertise in every major market in the world,” she says, “dedicated to executing globally minded campaigns to reach fans everywhere and find new audiences.”
Biggest issue now: “The changing nature of how audiences consume and how difficult it can be to find your engaged audience. These changes are emphasized further with the globalized nature of the music industry, where platforms, DSPs [digital service providers], etc., may be different from country to country or region to region,” Berman says. “Blanket approaches to international marketing are ineffective.”
Adam GraniteCEO, Africa, the Middle East and AsiaMichelle TehSenior vp of global classics and jazz, Universal Music Group
Granite sees “our growth across Greater China, India, the Middle East, Southeast Asia and Africa through organic A&R success” as being among the highlights of the past year for UMG. He also cites “the expansion of our distributed label business in partnership with Virgin and our continued merger and acquisition focus.” However, he adds that finding “the appropriate monetization for real engagement” could challenge growth going forward. Granite also spent valuable time over the past year communitybuilding, including visiting Dharavi Dream Project’s After School of Hip-Hop in Mumbai, India, a partnership involving UMG that provides youth outlets for artistic expression utilizing hip-hop culture.
The music business today in a word: “Exciting,” Granite says.
Celine JoshuaExecutive vp of global marketingJohannes von SchwarzkopfChief strategy officer, BMG
BMG reported in March that it generated 963 million euros ($1 billion) in revenue in 2024, marking a 6.4% increase over the previous year, with major wins coming from artists like country superstar Jelly Roll and rap hit-maker Mustard. Von Schwarzkopf considers the successful execution of the company’s BMG Next strategy to be a big factor in its recent success: “In the last 12 months, we’ve built global teams in recorded catalog, sales and marketing to better support our artists and songwriters worldwide, while also strengthening our local artist career teams where proximity to the market matters,” he says. “By working collaboratively across borders, our teams are strengthening our international business relationships, improving our service to artists and songwriters and positioning BMG for sustainable growth.”
The music business today in a word: “Opportunity,” von Schwarzkopf says.
Melissa ThomasExecutive vp of international marketing for U.S. repertoireWouter JansenSenior vp of international marketing, digital and commercial strategyNaoise RyanVp of international marketing, Columbia Records, Sony Music Entertainment
Sony’s international team recently worked on campaigns for Beyoncé’s Cowboy Carter; Tyler, The Creator’s Chromakopia; and both Future’s collaborative albums with Metro Boomin, We Don’t Trust You and We Still Don’t Trust You, and solo release Mixtape Pluto. They also marketed multiple singles from SZA’s SOS Deluxe: LANA ahead of her headlining slots at Glastonbury and London’s BST Hyde Park festivals in the United Kingdom. The Sony team also worked on campaigns for Travis Scott, Tyla, PartyNextDoor and Addison Rae, as well as Blackpink stars Lisa and Jennie. Sony Music’s key to success, Thomas says, is that “all of our campaign highlights from the past 12 to 18 months have had one through line: fan strategy.”
The music business today in a word: “Competitive — in the best way possible,” Thomas says.
Eric WongPresident of EastWest Records/head of global A&RJessica Keeley-CarterChief marketing officerTony CoreySenior vp of global marketingZac FroudVp of global marketing, Warner Music Group
WMG’s global teams have “collaborated to secure standout results across key markets” for its rising stars, according to Keeley-Carter. Blackpink’s Rosé charted in the top 10 in more than 10 countries and has spent 19 weeks at No. 1 on Billboard’s Global Excl. U.S. chart with “APT.” with Bruno Mars. Teddy Swims’ recent album, I’ve Tried Everything but Therapy (Part 2), hit No. 1 on the Australian Recording Industry Association chart; Benson Boone’s single “Sorry I’m Here for Someone Else” reached Spotify charts in 30 different markets; and Alex Warren’s “Ordinary” hit No. 1 on the Official Singles Chart in the United Kingdom.
The music business today in a word: “Noisy,” Keeley-Carter says. “We’re here to help our artists rise above it and make their mark.”
Blackpink’s ROSÉ has spent 19 weeks atop the Global Excl. U.S. chart with “APT.” with Bruno Mars.Julie AdamPresident/CEO, Universal Music Canada
According to Universal Music Canada, it released the top seven of the 10 best-performing albums of 2024 thanks to Post Malone, Billie Eilish, Sabrina Carpenter, The Weeknd, Morgan Wallen, Noah Kahan and Taylor Swift. “We anchored and supported each project with Canada-specific campaigns, content and fan events,” Adam says. “Our domestically signed acts continue to impact international markets. Rising pop star Sofia Camara is exploding in the U.K., country breakout Josh Ross continues to climb the charts in the U.S. and beyond, comedian turned singer-songwriter Mae Martin released their debut album, Owen Riegling is breaking out with national brand partnerships, and Punjabi super-producer thiarajxtt is driving artist discovery with fans from South Asia to Canada.”
The music business today in a word: “Artists. All that we do is for, about and in support of artists.”
Kirsten BurkePresident, Warner Music Canada
“One of Warner Music Canada’s biggest success stories this past year was the extension of our partnership with Karan Aujla,” Burke says, noting the extended joint venture between Warner Music Canada and Warner Music India. “As the most streamed Punjabi artist on Spotify worldwide in 2024, Karan’s influence is undeniable,” says Burke, who adds that the Indian rapper is known for constantly evolving and pushing the boundaries of both Punjabi and global music. “We kicked off the year with the release of ‘Tell Me,’ a dynamic Punjabi-English collaboration with OneRepublic. The song quickly charted in Canada, [the United Arab Emirates], Australia, New Zealand, the U.K., Pakistan and India, further underscoring his global appeal.”
Biggest issue now: “The impact of AI on creativity, rights management and artist compensation.”
Shane CarterPresident, Sony Music Entertainment Canada
“I am honored to be part of the team who brought Céline Dion’s deeply personal, moving story to the world in the documentary I Am: Céline Dion,” says Carter, who worked as an executive producer alongside teams at Sony Music Canada, Sony Vision and several global partners to bring the film to life. “Everyone involved in this project was so talented and 100% committed to the collaboration required to tell Céline’s story with sensitivity and authenticity. It was a highlight of the year — and also my career.” The journey culminated in Dion’s powerful return to the stage at the opening ceremonies for the 2024 Summer Olympics in Paris.
Biggest issue now: “We work alongside artists to build their audience authentically over time. This requires deeper collaboration across teams and innovative, strategic campaigns that truly connect. It’s a challenge — but also an exciting opportunity to match artists’ creativity with bold new ways to share their music with the world.”
Sony Music Entertainment Canada president Shane Carter was part of the team that helped create I Am: Céline Dion, the documentary that celebrated international icon Céline Dion.Frank BriegmannChairman/CEO, Universal Music Central Europe and Deutsche GrammophonOlivier NusseCEO, Universal Music France and Universal Music Africa (French-speaking)Patrick BoulosCEO, Universal Music Group Middle East and North AfricaFranck KacouManaging director, Universal Music Africa
It was a banner year for UMG throughout Africa and Europe, particularly in Germany, where half of the top 10 albums on the year-end 2024 charts belonged to UMG, and the company held six places among the top 10 most streamed music artists. “We are also very proud that we have been able to break six domestic artists,” Briegmann says. Deutsche Grammophon artists were No. 1 on the German classical chart in 10 out of 12 months in the last year. In Italy, UMG landed six of the top 10 albums on the year-end 2024 chart, while UMG albums were No. 1 in the Netherlands for 33 out of 52 weeks. For Nusse, Stromae & Pomme’s “Ma Meilleure Ennemie,” which was featured in the Arcane TV series, became a global success with nearly 470 million streams, “85% of which came from international markets,” he says.
The music business today in a word: “Artist-centric,” Nusse says.
Tony HarlowCEO, Warner Music U.K.
From his post leading Warner Music in London, Harlow has supported Warner Music Group developments, including the overall reorganization of the company and the restructuring of its leadership in Europe, the Middle East and Africa. Both changes “have opened new doors for us,” he says. “The return of Warner Records U.S. and Atlantic Records U.S. as a repertoire powerhouse has hugely helped us,” Harlow says, giving a shoutout to the executives guiding those companies who have helped drive the global success of U.K. artists including Charli xcx and Coldplay.
Biggest issue now: “Pessimism. If you talk yourself down, guess where you will end up?”
Jason IleyChairman/CEO, Sony Music U.K. and Ireland, Sony Music Entertainment U.K.
Iley and his Sony team are celebrating the success that Myles Smith and Central Cee are having “at a global level,” he says. Cee’s debut album, Can’t Rush Greatness, hit No. 9 on the Billboard 200. Meanwhile, Smith, who signed to RCA on Christmas Eve in 2023, won the BRIT Awards’ Rising Star honor in March, and his track “Stargazing” topped the Alternative Airplay chart. “Beyond chart success,” Iley says, “I’m really pleased to see results from the holistic work we’ve put into strengthening our business,” with a focus on employee wellness and an award-winning childcare policy. Such initiatives, he adds, “demonstrate the importance of listening — listening to what our artists and people need from us in order to succeed.”
Biggest issue now: “AI is a global issue and one that we are at the forefront of in the U.K. We have been working to help the government understand the implications of their proposed copyright reforms [that would] present a serious threat to our artists and their work.”
Daniel LieberbergPresident of continental Europe and Africa, Sony Music EntertainmentChristoph BehmCEO, Sony Music Entertainment Germany, Switzerland and AustriaMarie-Anne RobertManaging director, Sony Music Entertainment FranceSean WatsonManaging director, Sony Music Entertainment Africa
“It’s been a great year, with a series of successes for our local and international artists thanks to the incredibly hardworking teams across Europe and Africa,” says Lieberberg, who oversaw Sony’s growth in Greece and the Czech Republic through acquisitions, including Supraphron, the latter country’s longest-established record label. In Germany, Sony “delivered a global viral feat” thanks to Raffaella Carrà, Jaxomy and Agatino Romero’s collaboration, “Pedro.” Sony also opened the recording complex ONE Studios in Amsterdam. Artist Shiva set records in Italy by earning 100 million streams in a week, and Sony established a presence in Accra, Ghana, thanks to a partnership with Crux Global.
The music industry today in a word: “Culture-driven,” Lieberberg says.
Alistair NorburyPresident of U.K., Europe and Asia-PacificLevy IsabellaManaging director of Benelux and Scandinavia, BMG
BMG enjoyed a variety of European wins in 2024, with top five debuts on the United Kingdom’s Official Albums Chart for bands Soft Play, Travis and The Script, as well as No. 1 bows for British indie-pop band Blossoms and global pop legend Kylie Minogue, whose Tension also topped charts in Scotland and Belgium. Norbury cites the most significant recent developments of BMG delivering its repertoire directly to digital platforms (while moving physical distribution to Universal) and dabbling in related fields like film and literature. “We are fully focused on being a global music publisher and recordings business,” he says.
Biggest issue now: “Fair compensation for artists and songwriters in relation to streaming platforms,” Norbury says.
Simon RobsonPresident, Europe, the Middle East and Africa recorded music, Warner Music GroupPico CibelliPresident, Warner Music ItalyFabian DrebesDoreen SchimkCo-presidents, Warner Music Central EuropeMark FryPresident, Warner Music NordicsAlain VeillePresident, Warner Music FranceNiels WalboomersPresident of records and publishing, Benelux, Warner Music GroupTemi AdenijiManaging director, Warner Music Africa
Warner Music’s teams in Europe, Africa, Asia and beyond emphasize “cross-cultural collaborations,” Robson says. These include 91 North Records, a joint venture between the label’s India and Canada outposts, which Robson says had “strong success” in breaking rapper AR Paisley, Punjabi hip-hop lyricist Chani Nattan and Punjabi-focused producer Gminxer, all of whom are Canadian. Warner Music India and Warner Music Canada have also been working together with Karan Aujla and recently released “Tell Me” with OneRepublic. WMG also launched an Africa Francophone brand emphasizing French-speaking sub-Saharan African artists. “We also recently incorporated Warner Music U.K. into our EMEA [Europe, Middle East and Africa] structure to help further boost creative collaborations and align our artist campaigns,” he says.
Biggest issue now: “Recent IFPI figures showed that global industry growth [in key markets] slowed last year,” Robson says. “That means we must be even more focused on innovation, creativity and strategic deal-making to ensure sustainable growth for the future.”
Dickon StainerChairman/CEO, Universal Music U.K.
“I would like to highlight the incredible work of our U.K. teams, working with our global partners to put great British artistry back at the heart of international culture — in the shape of Lola Young, Sam Fender, The Last Dinner Party and Olivia Dean,” Stainer says, “and to prove the lasting value of our labels to long-term artist career-building and storytelling on a global scale.” Stainer was named to lead Universal Music U.K. in September 2024, following a long career at UMG, most recently as president/CEO of UMG’s global classics and jazz division. He oversees divisions including Island EMI Label Group, Polydor Label Group, Decca Records and the recently formed Audience and Media Division, as well as Abbey Road Studios.
Biggest issue now: “To be compelling and relevant to audiences who are bombarded with noise and distraction.”
Alejandro DuquePresident, Warner Music Latin AmericaGuillermo González ArévaloPresident, Warner Music IberiaLeila OliveriaPresident, Warner Music BrazilTomas RodriguezPresident, Warner Music Mexico and Mexican Music
Warner’s regional approach in the last year has focused on new artist development across the board. Argentine artist Yami Safdie’s track “En Otra Vida” charted in over 20 countries; Venezuela’s Elena Rose not only broke out in multiple countries, but her “Caracas en el 2000” became an anthem in her home country; Danny Ocean’s “Imagínate” soared on Spotify’s global charts; and Colombia’s Blessd amassed millions of monthly listeners. Warner also struck deals with Puerto Rico’s CLARENT, Dominican provocateur Tokisha and partnerships with label Street Mob Records that include rising regional Mexican artists like Armenta, Clave Especial and Calle 24. Warner Music Brazil opened a new headquarters and a creative hub in Rio de Janeiro, together with Warner Chappell Music Brazil and ADA Brazil. “We’ve continued to prove ourselves an instrumental force in developing the voices that are shaping the future of Latin music,” Duque says.
Biggest issue now: “Music is still extremely undervalued compared with other forms of entertainment,” Duque says.
Jesús LópezChairman/CEO, Universal Music Latin America & Iberian PeninsulaAlfredo DelgadilloPresident/CEO, Universal Music MexicoManuel PeñaManaging director of Andean, Central America and Caribbean, Universal MusicPaulo LimaPresident, Universal Music BrazilLuis EstradaPresident of Southern Cone, Universal Music Argentina
Universal Music Group’s focus on artist development resulted in back-to-back best new artist wins at the Latin Grammys in 2023 (Joaquina) and 2024 (Ela Taubert). The company’s global approach was also evident in Colombia’s Feid, who landed in the top 10 of Billboard’s year-end 2024 Top Latin Artists chart, while Karol G’s 2023 set, Mañana Será Bonito, was the fourth most streamed album globally on Spotify in 2024. Another Colombian, Morat, wrapped a 24-date stadium tour; in Brazil, UMG’s artists included chart-toppers Felipe e Rodrigo, Lauana Prado and Henriquez & Juliano; and in Spain, Lola Índigo was Spotify’s top female artist for 2024.
Biggest issue now: “Keeping the artist-centric model to protect the rights of artists, composers and music workers, as well as fair reward for real artists and real music,” López says.
Colombia’s Feid landed in the top 10 of Billboard’s year-end 2024 Top Latin Artists chart.Afo VerdeChairman/CEOMaria FernándezExecutive vp/COO, Sony Music Latin-IberiaFernando CabralCEO/executive vp of ticketing operations, Latin America, Sony Music Entertainment BrazilJuan Alfonso SanchezSenior vp/CFO, Sony Music Latin-IberiaJose Maria BarbatPresident, Sony Music IberiaMelissa ExpositoPresident, Sony Music Latin, Central America and CaribbeanRoberto LópezPresident, Sony Music Mexico
Sony had a phenomenal year in Latin music. After leading the Top Latin Albums chart with Las Mujeres Ya No Lloran, Shakira’s tour of the same name also made history by ruling Billboard Boxscore’s Top Tours ranking for February (the first for a solo female Latin artist), repeated the feat for March and sold out a record number of stadiums in Mexico City. Rauw Alejandro debuted at No. 1 on the Top Latin Albums chart and No. 6 on the Billboard 200 with Cosa Nuestra, and newcomers Ca7riel y Paco Amoroso’s NPR Tiny Desk performance was the most successful of 2024, with over 30 million YouTube views. Other newcomers who crossed the threshold toward stardom include Colombia’s Kapo, Mexico’s Oscar Maydón and Argentina’s Emilia.
The music business today in a word: “Un lindo quilombo [A nice mess],” Verde says.
Andrew ChanManaging director, Greater China, Sony Music EntertainmentVanessa PickenChair/CEO, Sony Music Australia and New ZealandShridhar SubramaniamPresident of corporate strategy and market development in Asia and the Middle East, Sony Music EntertainmentVinit ThakkarManaging director, India, Sony Music Entertainment
Sony Music’s operations in Australasia scored several big wins in the past 18 months. It acquired DRM New Zealand for The Orchard. The Australia-New Zealand division of the merchandising company Ceremony of Roses expanded operations in the Asia Pacific region and is now working with over 30 international tours. The company created Sony Music Masterworks Australia and New Zealand, a live-music and experiential division of SME that successfully staged Lightscape, Dark Spectrum and Jurassic World Exhibition, as well as a sold-out film/orchestral performance of Avatar: The Last Airbender. Sony also signed Angus & Julia Stone, Gang of Youths and Sydney electronic trio Mansionair.
Biggest issue now: “To thrive in today’s diverse and decentralized music landscape,” Picken says, “artists and companies must adapt, embrace emerging technologies and build stronger, more direct connections with their audiences.”
Chris GobalakrishnaCOO, Warner Music Asia; CFO, Asia Pacific, recorded music, Warner Music/Recorded MusicDan RosenPresident of records and publishing, Australasia, Warner Music Group/Recorded Music and PublishingJay MehtaManaging director, Warner Music India and South Asian Association for Regional CooperationBrayden CrossleySenior vp of marketing, Warner Music Asia, Warner Music/Recorded Music
“Warner Music Australasia lives by its goal,” Rosen says, “to take our local artists global and make our global artists local.” Among the success stories are New Zealand band Balu Brigada, which hit No. 1 on the Alternative Airplay chart in the United States with its track “So Cold” and is touring the world with Twenty One Pilots. Recent Australian signing Esha Tewari is already selling out shows for her first U.S. solo tour, and Oliver Cronin has had many of his tracks go viral across the world, including in India, the Philippines and Germany. Australia and New Zealand are also breakout markets for Teddy Swims, Benson Boone, Maisie Peters and Charli xcx, according to Rosen.
Biggest issue now: “As an industry,” Rosen says, “we need to harness the benefits of technology and minimize the potential harms to ensure value is returned to our artists, songwriters and rights holders.”
New Zealand duo Balu Brigada reached No. 1 in March on Alternative Airplay with “So Cold” and is touring the world with Twenty One Pilots.Matt GudinskiCEO, Mushroom Group
As costs rise across the music ecosystem, creating new business challenges, Mushroom Group keeps evolving. Led by Gudinski, the Melbourne, Australia, independent music company saw one of its “most significant achievements” in 2024 by consolidating its rights companies under the Mushroom Music banner, including recording, publishing and neighboring rights activities. “Additionally, we’ve experienced substantial international growth across the Mushroom Group,” Gudinski says, “reinforcing our position as a dynamic, forward-thinking company that continues to evolve alongside the ever-changing music industry.”
The music business today in a word: “Competitive, but it’s an exciting time as we enter a new generation where more people than ever are immersed in music.”
Katsumi KuroiwaCEO, AvexBrandon SilversteinCEO, Avex Music Group
The biggest story at Avex this year was the launch of Avex Music Group, a U.S.-based entity led by S10 Entertainment CEO Silverstein that will focus on expanding the global reach of Avex artists and building the company’s publishing portfolio, among other endeavors. That deal includes Avex’s acquisition of S10 Music Publishing’s song catalog and an additional stake in S10 Management. Meanwhile, Avex boy band One or Eight reached No. 1 on Billboard Japan’s Heatseekers Songs chart with “Don’t Tell Nobody,” while producer-writer Grant contributed to eight tracks on Tate McRae’s 2025 Billboard 200 chart-topper, So Close to What.
Biggest issue now: “As the business environment surrounding artists continues to evolve in the global market, it is increasingly important to invest across a wide range of areas,” Kuroiwa says. “In order to do so, having strong local partner companies is essential.”
Cussion PangExecutive chairmanRoss LiangCEO, Tencent Music Entertainment
“Our company’s music content ecosystem continues to gain vitality,” Pang says. In 2024, TME expanded beyond licensing into music events and artist merchandise. The company also launched three offline events: Tencent Music Entertainment Awards, WaveMusic Awards and QQ Music Super Live. Enhancements to its platforms — QQ Music, Kugou Music and Kuwo Music — helped TME’s subscribers grow 13.4% to 121 million, including more than 10 million Super VIP subscribers. “Our dual-engine content-and-platform strategy [creates] a virtuous cycle of growth,” Liang adds. (TME is a Billboard licensee in China.)
Timothy XuChairman/CEO, Universal Music Greater ChinaCalvin WongCEO, Universal Music Southeast Asia; senior vp of Asia, Universal Music GroupDevraj SanyalChairman/CEO, Universal Music India and South Asia; senior vp of strategy, Asia Pacific, Middle East and Africa, Universal Music GroupNaoshi FujikuraPresident/CEO, Universal Music JapanSean WarnerPresident, Universal Music Australia and New Zealand
Growth, the expansion of local content and blossoming partnerships are some of the high points of Universal Music’s operations in Asia and Australasia over the past 18 months. Universal Music Japan reported 11 consecutive years of revenue growth. The China business nurtured partnerships with artists such as Jay Chou (the only Chinese-language artist ever to reach No. 1 on IFPI’s Global Albums chart). The India company achieved a global hit with “Big Dawgs” from Hanumankind and Kalmi, and the Australasian affiliate is undergoing changes as well — part of a mission to break artists on a global stage.
Biggest issue now: “One of our biggest challenges in Japan is maintaining the market despite the population decline, especially among younger generations,” Fujikura says. “To sustain growth, we need to implement strategies that prevent the market from shrinking. Key efforts include expanding the senior user base, increasing revenue per user and developing overseas markets.”
Universal Music Group China continues its partnership with Taiwanese mando-pop star Jay Chou and his JVR Music label.Gitte BendzullaCOONigel HardingVp of artist relationsPedro KurtzDirector of content and operations, Americas, Deezer
Harding says that Deezer remains a pioneer in music streaming; he cites the company’s strides toward fairer remuneration (involving both recording and publishing rights) through Deezer’s Artist Centric Payment System initiative. Deezer is focused on fans, too, with its Deezer Flow wheel that personalizes music recommendations based on users’ tastes and features like the Deezer Shaker and discovery programs including Deezer Next. Plus, it’s offering exclusive live experiences like Purple Door, Listening Sessions and rooftop sessions that provide fans intimate access to artists. “These innovations combine technology, engagement and exclusivity to create deeper connections between fans, music and artists,” Harding says.
Biggest issue now: “The rise of AI-generated content flooding streaming platforms. To address this, Deezer has developed a tool to tag AI-generated content, improving transparency for users and protecting creators’ rights,” Harding says. “We’ve already discovered that over 10% of the tracks delivered daily to the platform are AI-generated and, to safeguard creators, this content will be excluded from algorithmic recommendations.”
Dan ChalmersDirector of Europe, the Middle East and Africa, YouTube MusicLizzie DicksonHead of music, YouTube U.K.Sandra JimenezHead of music for Latin America and U.S. LatinPaul SmithManaging director, Asia Pacific, YouTube Music
Reaching a new milestone of 125 million subscribers to YouTube Music and Premium, the platform’s ad-free video tier, was a highlight of the past year, Chalmers says. “We added 25 million in the past year alone, outpacing industry trends and reinforcing our role as a major revenue driver for the music business.” As global subscription growth slowed slightly in 2024, YouTube Music, which accounted for 10.1% of the 818 million subscriptions worldwide, according to MIDiA Research, was the only major subscription service to post accelerated subscriber growth compared with 2023.
Biggest issue now: “Ensuring that people can turn their artistry into sustainable careers and cut through the clutter,” Chalmers says. “Artists need more than just streams or views; they need a strategy for visibility, engagement and monetization. They need the tools to build deep, lasting connections with fans.”
Paul FirthDirector of global music industryRocío GuerreroHead of music, Latin-IberiaLaura LukanzHead of music, U.K.John MurphyHead of music, Canada, Amazon Music
Building on its success in music streaming, Amazon officially integrated “Audible’s unparalleled catalog of audiobooks” into the app for users in the United States, the United Kingdom and Canada before then expanding into Australia, New Zealand and France, Firth says. “This launch really solidifies our position as an all-audio destination for subscribers across music, podcasts and audiobooks and was my highlight of 2024,” he says. The platform is also trying to help artists get discovered. “In order to have a thriving music scene, there needs to be a consistent flow of exciting new artists, and they need the opportunity to find audiences around the world,” he adds. “Both our Breakthrough and Artists To Watch programs are designed to provide this support.”
The music business today in a word: “Fan-centric,” Firth says.
Georges FornayDeputy CEODan MacktaManaging director of North America and Northern Europe, Qobuz
Paris-based audiophile streaming service Qobuz achieved significant milestones in the past year, Mackta says, “including our expansion into Japan, the launch of the Studio Student plan and Qobuz Connect. With the U.S. now our leading market, Qobuz has solidified its status as a global company. These achievements reflect our commitment to delivering a unique and deep music experience and to strengthen our position as the go-to platform for music lovers and audiophiles worldwide.” In March, Qobuz became the first streaming company to publicly release the per-streaming royalty rate it pays to rate holders. The all-in rate, which covers both recorded music and publishing, works out to $18.73 for every 1,000 streams.
Biggest issue now: “Building a fair and sustainable streaming model that ensures all artists receive proper compensation and have equal opportunities to reach their audience,” Mackta says.
Matt GralenPresidentSofia IlyasChief community officer, The Beatport Group
One of the most significant achievements at Beatport has been the company’s investment in expanding its infrastructure. “By adding a chief community officer role —my role — and a dedicated team to focus on fostering community within the electronic music space, we are able to support grassroots organizations that champion diversity, many of which are volunteer-led and often overlooked despite being a crucial part of the music ecosystem,” IIyas says. The latest recipients of Beatport’s Diversity + Parity Fund include Change the Beat, Last Night a DJ Saved My Life, One Off Traks, Other Village People, Saffron and We Are Moving the Needle.
Biggest issue now: “The industry faces several challenges, but one of the most pressing is how artists navigate their careers in a rapidly changing digital landscape,” Ilyas says. “Many artists today seek more autonomy and direct ways to connect with their fans, but the pressure to constantly engage on social media has become overwhelming.”
Emmy LovellGlobal head of musicAma WaltonSenior vp of content partnerships/deputy general counsel, SoundCloud
SoundCloud has partnered with popular club Hï Ibiza in Spain “for a season-long residency that’ll bring James Hype, Meduza and Hannah Laing to one of the biggest stages in electronic music,” Lovell says. “As Hï Ibiza’s first-ever brand partnership in its 10-year history, this is a massive moment that reinforces SoundCloud as a trailblazing platform where global dance music movements are born.” Additionally, Ascending, the artist development program designed to boost upcoming artists, continues to drive real results, with select artists seeing a 60% or more spike in followers. “Ensuring our platform remains a launchpad for emerging talent is something I care deeply about,” Lovell adds, “and with these milestones, we’re making it clear: SoundCloud is the place where artists can break through the noise.”
The music business today in a word: “Unpredictable,” Lovell says.
Rachel NewmanGlobal head of editorial and contentAnjali MalhotraGlobal director of classicalJuan PazGlobal head of Latin music business, Apple Music
Apple Music’s global footprint was strengthened by a branding initiative that saw the creation of the Apple Music 100 Best Albums and by the addition of Tokyo to the company’s Apple Music Studio network. “This past year has seen us really lean into what we do best,” Newman says. “The thing that has always differentiated us is our editorial strength across the world.” In constructing the 100 best albums, “we pulled together an enormous editorial feature that [included] votes from our Apple Music editorial teams across the world,” she adds, “as well as a range of other expert opinions — musicians, songwriters, producers, managers and music journalists.” As for the Tokyo studio, “Japan is such an important market for us, and bringing an Apple Music Radio studio online there expanded our Apple Music Studio network to seven studio spaces worldwide.”
Andy Sloan-VincentHead of global music programsManuela WurmHead of global editorialKossy NgHead of music, Southeast Asia, Hong Kong and TaiwanJungJoo ParkHead of music, Korea, Spotify
Spotify has been leaning into superfan communities more, and this past year, the company’s work with South Korean boy band Seventeen illustrates that determination to “build deeper connections with their fans around the world,” as Park puts it. That included a first-ever countdown page and listening parties in Indonesia, as well as in-person fan experiences at the group’s shows in Seoul; New York; Tokyo; Manila, Philippines; and Jakarta, Indonesia, among others. “It was an incredible journey that not only brought fans closer to the group,” Park says, “but also helped boost their global presence and streaming numbers on Spotify.”
The music business today in a word: “If we had to sum up the music business today in two words, they’d be ‘innovative’ and ‘ever-evolving,’ ” Park says. “The industry is rapidly embracing new technologies, and we’re seeing a surge in artist-driven content that pushes creative boundaries.”
Rebecca AllenPresident, audience and media division, Universal Music U.K.
Universal Music U.K. combined its leading labels under Island EMI Label Group and Polydor Label Group last year and launched an audience and media division helmed by Allen to work across artists and labels. She will continue collaborating with some of the acts she aided in her former EMI role alongside Jo Charrington, including English singer Olivia Dean. Allen describes Dean as “the definition of a world-class artist,” noting, “We saw just how hard Olivia and her manager, Emily [Braham], worked to connect with audiences beyond the U.K. Her Coachella and Glastonbury moments, for me, were a huge highlight in 2024.”
Biggest issue now: “The lack of funding for the arts in schools. Our pipeline of talent into this industry, into the creative industries, will be decimated without a real investment into young people and creativity. The funding crisis for the arts in schools needs to be addressed, and as an industry, we must step up and play a role in this.”
Tricia ArnoldExecutive vp of global artist and label services and salesPrashant BahadurExecutive vp/head of strategyChris ManningManaging director, U.K. and Europe, The Orchard
Emphasizing The Orchard’s global reach, Arnold points to Japan’s YOASOBI playing pivotal shows in the United States, including appearances at the 2024 Coachella and Lollapalooza festivals and a sold-out Radio City Music Hall gig in New York last August. In addition, Mexican superstar Peso Pluma’s second album, Exodo, charted at No. 5 on the Billboard 200 and No. 1 on the Top Latin Albums chart and had the biggest ever debut for a Mexican artist on Spotify. The Orchard also celebrated the No. 20 debut on the Billboard 200 for Mexico’s Tito Double P’s Incomodo (the album later peaked at No. 11), BINI becoming the first Filipino winner of best Asia act at the MTV Europe Music Awards and British singer RAYE winning six BRIT Awards, scoring three Grammy noms and putting on show-stopping performances at the Grammys and Academy Awards.
The music business today in a word: “Global, in the truest sense of the word,” Arnold says.
Japanese duo Yoasobi played the 2024 Coachella and Lollapalooza festivals before headlining Radio City Music Hall in New York.Bang Si-HyukChairmanJason Jaesang LeeCEO, HYBEJonghyun KahCEO, HYBE Latin AmericaYoung Jae ShinPresident, BigHit MusicYoo Jin OhGM, HYBE 360
While HYBE boasts an artist roster with BTS (and its members’ solo releases), Tomorrow X Together and NewJeans, its global expansion gets a boost from an unlikely source: AI. Supertone, an AI audio company that HYBE acquired in 2023, launched virtual pop group SYNDI8 and enhanced Tomorrow X Together’s concert videos with multilingual pronunciation technology. Lee thinks that AI benefits musicians, but its regulation isn’t keeping pace with technological advances. “I believe the future of the industry will be shaped by how deliberately and appropriately we design the utilization and regulation of technology,” he says.
Biggest issue now: “The music industry as a whole is still undervalued,” Lee says. “A simple calculation reveals this: The hourly cost of streaming is remarkably low compared with other forms of entertainment and services. It affects not only the revenue of companies but also the people who work in the music industry — from creators to the staff on the ground — who aren’t being compensated for their true worth.”
Kimberly BedoyaHead of Latin marketing, Roc Nation Distribution
The recently launched Roc Nation Distribution “has provided a solution for indie artists to distribute their music globally,” Bedoya says. “We’ve significantly strengthened our international presence through strategic partnerships and collaborations and successfully executed global marketing campaigns for high-profile music artists.” That includes Dominican rapper-singer Yailin La Más Viral, whose viral song “Bing Bong” trended at No. 1 on YouTube across multiple markets, Bedoya says, and “demonstrated our expertise in managing large-scale international initiatives and deepened our relationships with global partners and media platforms across Latin America, Europe and North America.”
The music business today in a word: “Innovative. The music business today is transforming, driven by rapid technological advances, new platforms and the shift of consumer behaviors.”
Louis BloomPresident, Island EMI Label Group, Universal Music U.K.
Not even halfway through 2025, Bloom already calls it “Chappell Roan’s year.” After Roan picked up two BRIT Awards in March, her song “Pink Pony Club” ruled the Official Singles Chart in the United Kingdom for two weeks, “proving that Chappell’s music is utterly timeless,” he adds. Meanwhile, Roan’s 2023 album, The Rise and Fall of a Midwest Princess, has spent 41 weeks in the top 10 on the Official Albums Chart. Bloom says “another remarkable achievement” is the Wicked soundtrack breaking “the U.K. chart record for the longest consecutive reign at No. 1 on the Official Compilations Chart, staying on top for an unprecedented 16 weeks.”
The music business today in a word: “Three words: relentless yet edifying.”
Alec BoatengPresident, 0207 Def Jam, Universal Music U.K.
Last summer, veteran electronic duo Chase & Status and rapper Stormzy teamed up for “Backbone,” which hit No. 1 on the Official Singles Chart in the United Kingdom. “Seeing this song [a joint release with EMI] have international reach is amazing, and obviously, the fact it was such a huge No. 1 in the U.K. is something we’re really proud of,” Boateng says. “Given the range of choices facing an artist nowadays,” he continues, 0207 Def Jam is focused on providing “bespoke individual services of quality to each artist that we work with.” In the music industry now, “everyone has a different time in which the moment happens,” according to Boateng. “And patience is required for those who take a longer time to get there.”
The music business today in a word: “Unpredictable.”
Joseph ChangCo-CEO, Kakao EntertainmentDaniel JangDmitry YJ TakCo-CEOs, SM Entertainment
“Over the past few months, Kakao Entertainment has solidified its position as a key player in the K-pop scene,” Chang says. Finding a new twist on the K-pop model, Kakao’s joint venture with SM Entertainment launched a five-member British boy band, dearALICE, which reached No. 2 on the U.K. Official Physical Singles Chart with its debut single, “Ariana.” Both companies had successful world tours, too. Kakao’s IVE staged its first large-scale world tour and played to 420,000 fans in 28 cities across the globe, according to SM. SM’s aespa did its second world tour from June 2024 to March 2025, staging 43 concerts in 28 cities.
The music business today in a word: “ ‘Boundary-breaking’ is the word that best describes today’s music industry,” Chang says. “The industry is no longer hemmed in by walls of language, nationality, platform or genre.”
Jo CharringtonPresident, Capitol Records, Universal Music U.K.Kieran ThurgoodExecutive vp of global marketing, Capitol Music Group
Working closely with U.S. labels — Capitol, Island and Mercury — has paid off in breaking U.K. artists stateside, Charrington says, as evidenced by the success of DJ-producer Sammy Virji. “Sammy played Coachella [in April] and is set to play two dates at Brooklyn Mirage in June,” Charrington says, adding that British neo-soul singer Olivia Dean is touring the United States and opening for Sabrina Carpenter at Madison Square Garden in New York in October. For Thurgood, global campaigns for songs by Good Neighbours, Quavo & Lana Del Rey, Ice Spice and Troye Sivan have all yielded global hits, as well as his team’s work on the meteoric ascent of Doechii, whose latest hit, “Anxiety,” just topped the global Spotify charts, “with 70% of consumption originating outside the U.S.,” he says.
Biggest issue now: “Pointedly, achieving optimal success for our artists and portfolio of labels fundamentally relies on aggressively, but authentically, driving and harnessing the power of superfandom,” Thurgood says.
British neo-soul singer Olivia Dean has been touring Australia and will open for Sabrina Carpenter at Madison Square Garden in October.Brianne DeslippeSenior vp of marketing, Big Loud Records
At Big Loud, “we scaled our international business rapidly this year with aggressive global marketing efforts, promotional events, creative social and digital campaigns, multiformat radio No. 1s and nearly 250 tour dates and festivals,” Deslippe says. Morgan Wallen’s One Night at a Time World Tour spanned 10 countries and 87 shows, while other Big Loud artists including Stephen Wilson Jr., Dylan Gossett, Ashley Cooke, Charles Wesley Godwin and Kashus Culpepper experienced growth in global market reception, driving surges in streaming and audience numbers. Still, Deslippe says of the obstacles in marketing rising talents, “Discoverability is a constant challenge as new artists fight for attention in overcrowded spaces.”
The music business today in a word: “Evolving.”
Sipho DlaminiPresident/managing director, gamma.
Dlamini and his team signed over 35 distribution deals across Africa and the Middle East, establishing the company’s presence in the latter region by producing Steve Harvey’s Open Fire Food Festival in collaboration with BET Africa. He also A&R’d a remixed track by Tamela Mann by bringing in South African amapiano/3-step producer Mörda. They also opened gamma.’s first office in Lagos, Nigeria, offering full label services and local representation for its distribution platform Vydia, and formed strategic partnerships with Sol Generation (Kenya’s leading label, owned by Sauti Sol) and Gallo Music Group (South Africa’s oldest and largest independent label).
The music business today in a word: “Confused.”
Denzyl FeigelsonCo-founder/CEO, Platoon
Last year, Platoon, the Apple-owned artist services, A&R and music distribution company, increased its efforts to provide career-boosting services to acts worldwide by delving into the classical world. These efforts paid off in November, when the Los Angeles Philharmonic and Gustavo Dudamel’s Fandango album featuring violinist Anne Akiko Meyers and composer Arturo Márquez won two classical categories at the Latin Grammy Awards, and again in February, when Gabriela Ortiz’s Revolución Diamantina with Dudamel and the L.A. Phil spotlighting violinist María Dueñas took home an unprecedented three Grammy Awards, including best orchestral performance.
Biggest issue now: “There are of course multiple issues and, in turn, opportunities,” Feigelson says. “One that is top of mind is the perception of quick overnight success versus career development.”
Arthur FitzgibbonManaging director, BrazilAndrés López-QuirogaExecutive vp of business development, Latin Iberia, ONErpm
“ONErpm has continued to grow and establish itself as a modern label for artists at various stages of their careers,” including local, international and global acts, “demonstrating that our global structure, technology and flexible deal structures benefit both artists and the current industry landscape,” López-Quiroga says. He points to international success with hits like Chance Peña and Andres Castro’s “Vaquero Vaquero,” Chimbala’s “Che Che,” Brytiago’s “Kilerito” and emerging artist Alejo. “Our ability to rapidly adapt to the evolving industry landscape — leveraging our technology, global and organizational structures — and flexible deal structures,” he adds, “has enabled ONErpm to increase its global market share while maintaining a top five position in various markets worldwide.”
The music business today in a word: “Ever-changing,” López-Quiroga says.
Kenny GatesCo-founder/CEO, [PIAS]
In October last year, [PIAS] co-founder/CEO Gates and co-founder Michel Lambot sold their remaining shares of the indie label group to Universal Music Group to support their dream of offering truly global distribution services to the independent music community. Six months later, Gates says the partnership has allowed [PIAS] to retain its autonomy and core values while becoming “an added dimension in the UMG ecosystem,” as [PIAS] has continued to demonstrate its commitment to artists through recent successes like Nick Cave and the Bad Seeds’ new album, Wild God, and the breakout success of controversial Irish hip-hop act Kneecap.
Biggest issue now: “Getting access to media and to engaged audiences for truly great and passionate artists is becoming harder and harder as the DSPs and the market generally become ever more overwhelmed with the sheer volume of mediocrity clogging the system.”
Music group [PIAS] is backing the release of Nick Cave’s new album with the Bad Seeds, Wild God.Jonas HaentjesCEO, Edel
One of the biggest independent music companies in Europe, Edel owns several labels (earMUSIC, dance-focused Kontor Records), a sizable vinyl pressing plant (Optimal Media, which also manufactures CDs, DVDs and books) and a distribution operation. Last year, sales were down 7.7% overall, but with a 3.2% increase in EBITDA (earnings before interest, taxes, depreciation and amortization) and strong growth in digital distribution, balanced by a stable manufacturing business. The vinyl business suffers from overcapacity, but “everyone knows us, everyone trusts us, and we’re trying to push our process further,” Haentjes says.
Biggest issue now: “We really need to watch out with what we allow the AI companies to do.”
Tor HansenCo-founder/executive, RedeyePelle ErikssonManaging director, Border Music/Redeye
As leaders of the Swedish indie distributor Redeye, Hansen and Eriksson have spent the past year streamlining how music from their global label partners reaches fans around the world — from physical products at retailers to DSPs — and focusing on products delivered to stores in Scandinavia. “We have intensified our efforts on spreading the news, and the music, from local independent labels we work with throughout the world,” Eriksson says. “The key to keep the physical part of the industry alive and well is to continue to offer quality products, vinyl and CD — at fair prices, all to keep the record-buying public happy.”
The music business today in a word: “For the Scandinavia market, I would say, ‘Steady,’ ” Eriksson says. “For Border’s international releases, I would say, ‘Growing.’ ”
Paul HitchmanCOOBen AkinbolaHead of growth, AWAL
“Last year, marquee AWAL artists like Jungle [in the United Kingdom] and The Beaches [in Canada] — winners of group of the year honors at the BRIT Awards and Juno Awards, respectively — reached new heights in their careers internationally. Building off those international successes, we now also have local artists charting on every inhabitable continent, with a presence on the ground in over 15 markets,” Akinbola says, pointing to successes in South Africa with Yanga Chief, the Philippines with Zae and India with Loka. “All of our successes are ultimately the combination of AWAL’s unique model for artist development, our partnership with local Sony Music teams in growth markets and, most importantly, an incredible roster of independent artists who continuously push creative boundaries.”
The music business today in a word: “Democratization,” Akinbola says.
Ed HowardBriony TurnerCo-presidents, Atlantic Records U.K.Samantha StrumDirector of global marketing, Atlantic Records
Thanks to the campaign waged by Charli xcx and Atlantic, 2024 became known in multiple markets as the year of Brat Summer. “We helped to define culture,” Howard says of the campaign’s bright green aesthetic that “took over everything from fashion, sports, U.S. politics and beyond.” He adds, “Charli is a great example of a long-term artist development. Having signed with Atlantic at just 15, she’s had the time and backing to develop with artistic freedom, pushing the boundaries of alternative pop.” Looking ahead, Turner is excited about the U.K. signings of Kingfishr and Yaelokre, plus artist Alex Warren, whose “Ordinary” hit No. 1 on the Official Singles Chart in the United Kingdom.
Biggest issue now: “We increasingly face challenges in maintaining and expanding our [U.K.] export reach due to a combination of political, economic and competitive factors,” Howard says.
Manu KaushishPresident of international, Create Music Group
In June 2024, Create Music Group reached a significant milestone when it received a $160 million investment from Chicago-based private equity firm Flexpoint Ford. The move elevated CMG to “unicorn” status after getting a $1 billion valuation. The capital allowed CMG to acquire the catalogs of deadmau5 and his label, mau5trap. Founded in 2015, CMG includes marketing agency Flighthouse and independent music distribution platform Engine Label, which handled Ye and Ty Dolla $ign’s Billboard 200 No. 1 Vultures 1. “We are poised for continued aggressive expansion in 2025, empowering and onboarding even more international artists and labels,” Kaushish says.
Biggest issue now: “How to adequately and fairly compensate music creators in a world of ever-changing streaming royalties and algorithms, especially with the dominance and power that DSPs and their stakeholders have right now.”
Joe KentishPresident, Warner Records U.K.Luke ArmitageSenior vp of global marketing, Warner Records (Export Marketing)
Warner Records delivered a strong performance in the United Kingdom and globally in 2024. Dua Lipa and Coldplay headlined Glastonbury, which was streamed worldwide for the first time. With Radical Optimism, Lipa also attained “massive global success with [over] 3 billion streams and a sold-out global tour,” while Coldplay’s Moon Music “became the fastest-selling album of 2024 by a British act,” Kentish says. Also of note: Linkin Park’s From Zero comeback album notched No. 1 debuts in multiple countries including the United Kingdom, Australia and France; Benson Boone landed a No. 1 on the U.K. Official Singles Chart with “Beautiful Things”; and Teddy Swims ushered in 2025 with his first No. 1 album in Australia, I’ve Tried Everything but Therapy (Part 2).
Biggest issue now: “On a broader level, it’s the decoupling of artists and their narratives from their songs,” Kentish says. “The way music is consumed today makes it increasingly challenging to tell important new stories through those channels.”
Lyn KoppeExecutive vp of global catalogCharlie StanfordSenior vp of international, commercial music group, Sony Music Entertainment
Sony Music’s global catalog team is “truly exceptional and inspiring,” says Koppe, who manages the expansive Legacy Recordings/Sony Music catalog. “With the privilege of overseeing some of the most iconic music from the last 100-plus years, our team focuses on innovating, sharing learnings and developing best practices among countries as trusted collaborators.” Meanwhile, Stanford says his purview across all of Sony Music’s international catalog continued to expand thanks to several of the company’s major acquisitions. “As always,” Koppe adds, “our passion for music, our artists and their fans remains the top priority guiding our strategies around the world.”
Biggest issue now: “Fans have a lot of choice,” Stanford says, “so from a catalog perspective, we must focus on developing unique and authentic ways to cut through and help audiences discover decades of incredible music from around the world.”
Ben LarsenExecutive vp of international, Interscope Geffen A&M
“Being given license to reimagine how we develop artist careers globally and how we do business around the world has meant that my team and I are able to evolve the partnerships with our UMG affiliates to greater effect,” Larsen says. That freedom played an integral role in paving a two-way-street — creative and execution — that delivered “amazing results” over the last year. As examples, Larsen cites Lady Gaga, Kendrick Lamar and Playboi Carti, who had “some of the biggest global rollouts in years, topping album and singles charts.” Then to also see Gracie Abrams “break through with a huge No. 1 single [“That’s So True”] all over the world is exciting,” Larsen adds, “and sets the tone for what’s to come.”
The music business today in a word: “Relentless.”
Federico LauriaFounder/CEO, Dale Play
The Argentina-based company made impressive gains across its divisions: Dale Play Management, Dale Play Records and Dale Play Live. On the management side, Lauria’s marquee client Duki became the first rapper — and only Argentine artist — to sell out Madrid’s Santiago Bernabéu Stadium. Meanwhile, Lauria says Dale Play Live sold over 1 million tickets in Argentina alone during 2024, promoting shows for global acts Travis Scott and Karol G, to name a few. Furthermore, Dale Play Records — home to artists like Cazzu and Paulo Londra — and Bad Bunny’s Rimas Entertainment teamed for a strategic alliance, “playing a key role in developing and amplifying a new wave of Spanish-language urban music around the world,” Lauria adds.
The music business today in a word: “Passion. At least in Dale Play, that’s our engine. It’s what drives every risk, every idea and every action. Without it, nothing else works.”
Nando LuacesFounder/CEO, Altafonte
Since Sony Music Group’s acquisition of Altafonte in January 2024, “we continue to operate independently but have all the financial capacity and know-how to grow in a very competitive and dynamic market,” Luaces says. On industry challenges, Luaces emphasizes adapting to technological advances: “AI and the challenge of how to be fair in royalty payments for streaming is the problem of today, and we must solve it,” he says. “In order to have a prosperous and larger business, we continue to adapt to changes and technological advances, as has been the history of music for the last 130 years.”
The music business today in a word: “Acceptance. Accept that the world is unstable and changing. Anything can happen.”
Roni Maltz BinFounder/CEO, Sua Música Group
Brazilian indie distributor Sua, known for its focus on independent regional artists, has now begun its “international expansion into the Latin market,” Maltz Bin says, noting that the company has plans to launch labels in key territories including Argentina, Chile, Colombia and Mexico in the next 24 months. In December, Sua opened a recording studio and urban music label Único Música in Buenos Aires, Argentina, for emerging talent. The company also hired its first A&R executive in Medellín, Colombia, with plans to launch a label there. “There has never been a time with so many opportunities in the music industry for artists, producers, labels, record companies and entrepreneurs,” Maltz Bin says. “We are living in the golden era of the music business.”
Biggest issue now: “The two biggest challenges are the rise of AI-powered tools and the increasing amount of artificial streaming and fraud.”
Martin MillsChairmanPaul ReddingCOOBrandon BeckerGlobal vp of streaming, Beggars GroupJean-Philippe AlineGM, Beggars FranceBen BeardsworthManaging director, XL RecordingsCaius PawsonFounder, Young
In 2024, XL Recordings worked closely with The Smile, as well as DJ Peggy Gou. “(It Goes Like) Nanana,” Gou’s debut release for XL, topped singles charts around the globe ahead of the 2024 release of her acclaimed solo album, I Hear You. Mills is particularly proud of how Beggars Group also helped take Irish band Fontaines D.C. “to the next level.” Last September, the band made its Billboard 200 debut with its fourth album, Romance (released on XL Recordings), which peaked at No. 2 on the U.K. Official Albums Chart. Meanwhile, lead single “Starburster” became a top 20 hit on the Alternative and Triple A airplay charts. As Mills says, “It was a major global success story that we are all very proud of.”
Biggest issue: “The biggest issue is money,” Mills says. “Commerce and art have always been uncomfortable bedfellows, never more so than now.”
Ben MortimerPresident, Polydor Label Group, Universal Music U.K.
Mortimer’s focus over the last year was “integrating the incredible artist rosters and executive talent at Capitol Records and 0207 Def Jam into the Polydor world.” He says, “It’s gone remarkably smoothly, which is a testament to all involved.” Polydor star Sam Fender also released his People Watching album, which channels classic heartland rock; it hit the top of the U.K. Official Albums Chart with 107,000 chart units — the biggest opening week for a British solo act since 2022. Fender will play select stadium shows in the United Kingdom this summer.
Biggest issue now: “Vying for attention amid the breadth of music from around the world. However, the U.K. has always punched above its weight creatively, and I feel we are on the cusp of a new wave of breakthrough British talent.”
Suhel NafarManaging director of West Asia and North AfricaJeffrey YooSenior vp of East AsiaTaeko SaitoSenior vp of business development and strategies, Asia Pacific, EMPIRE
“EMPIRE has made significant strides in bridging global music markets, fostering cross-cultural collaborations and amplifying diverse voices,” including a “strong foundation in the African music scene,” Nafar says, citing as an example Moroccan rapper Dada and Sudanese rapper Soulja recording an Arabic remix of Los Angeles rapper 310babii’s 2024 Rhythmic Airplay No. 1 breakout hit, “Soak City (Do It).” And signing some of the biggest acts in South Korea and Southeast Asia like K-pop icon G-Dragon has further cemented “EMPIRE’s reputation as a key player in shaping the future of the global music industry,” he adds.
Biggest issue now: “Instead of merely capitalizing on what performs well in the data,” Nafar says, “the industry must do better in nurturing and developing talent, ensuring that artistry and innovation remain at the heart of the music business.”
Donny NovakovicVp of international marketing, Disney Music Group
“This year, we brought our storytelling passion to life with exciting global soundtrack campaigns for two highly anticipated films, Moana 2 and Mufasa: The Lion King,” Novakovic says, adding that last year, Disney made the soundtracks available in 29 languages, “ensuring that the magic of these stories reaches cultures worldwide.” Earlier in 2025, the company introduced the soundtrack to Disney’s Snow White, “a captivating addition to our repertoire that continues to celebrate the timeless tales that have inspired generations,” he says. Novakovic also notes the momentum of pop trio almost monday, which wrapped a sold-out 19-city headlining run through Europe.
The music business today in a word “Abundant — overflowing with creativity, talent and opportunity across a constantly expanding global landscape.”
Jamie OborneFounder, Dirty Hit
Oborne says that Dirty Hit — the home of a diverse indie-leaning stable of acts, including The 1975, Bleachers, beabadoobee and Saya Gray — spent the past year expanding its global reach with international partnerships and placement on live and digital platforms in different countries. “One highlight has been our efforts in expanding into emerging markets such as Asia and Latin America, where we’ve seen a growing fan base for our artists,” Oborne says. “Through these initiatives, we have strengthened our international business relationships by pushing our artists into new territories and enabling them to connect with a wider audience than ever before.”
Biggest issue now: The streaming model “heavily favors large corporations and major labels, leaving independent artists and smaller labels with a much smaller share of the revenue. As a result, there’s an ongoing need for fairer revenue-sharing models, better protection for intellectual property and more support for independent artists to ensure the sustainability of the industry.”
OlamideFounder/CEO, YBNL Nation
“YBNL Nation has made significant strides in expanding our global footprint and solidifying our presence in key international markets,” says artist Olamide, who also runs his own company. Asake sold out London’s O2 Arena for the second time in September 2024, becoming the third Nigerian artist after Davido and Wizkid to sell out the venue multiple times, according to YBNL Nation. The show was held a month after he released his third album, Lungu Boy, which included collaborations with Travis Scott (“Active” hit No. 1 on Billboard U.S. Afrobeats Songs), U.K. artists Central Cee and Stormzy and Brazil’s Ludmilla. “MMS” (featuring Wizkid) earned Asake his second Grammy nomination for best African music performance. “Collaborations with international artists and producers have helped bridge the gap between Afrobeats and other genres,” he adds, “further establishing our label as a key player in the global music scene.”
The music business today in a word: “Disruptive.”
YBNL Nation artist Asake sold out London’s O2 Arena for the second time last September, becoming only the third Nigerian act to do so, according to the company.Alejandra OleaManaging director, Americas, BelieveAndreea GleesonCEO, TuneCoreRomain VivienGlobal head of music/president of Europe, Believe
Believe, and subsidiary TuneCore, represent “artists and labels across every genre in local markets all around the world,” Vivien says — including about 50 artists who were either nominated for or won awards at some two dozen awards ceremonies worldwide, according to the company. Its strategy of working with local independent labels and producers led to deals with legendary Punjabi label White Hill Music, Krumolo in Southeast Asia and the launch of Playcode, Believe’s first local hip-hop imprint. Rising stars that charted internationally in 2024 include Canada’s Cheema Y, Germany’s Lacazette and Japan’s ¥ellow Bucks and Red Eye.
The music business today in a word: “Dynamic,” Vivien says. “This is true across every area of the industry, around how music is created, discovered, consumed and then redefined. This has been powered by the increasing digitalization, which allows for more creation, faster and wider distribution to reach audiences more directly and accurately and for a wider and more diverse artist community.”
Maykel PironCo-founder/CEO, Armada Music Group
For over 20 years, Armada Music co-founder/CEO Piron has remained a driving force in electronic dance music, especially for independent artists. With teams across the United States and sections of Europe, Armada Music Group has been focused on international expansion. The company has expanded its publishing division and doubled the size of its London office. “With teams strategically positioned across Europe, the U.K. and the U.S.,” Piron says, “we’re able to operate synergistically across markets, providing comprehensive global support for our artists.”
Biggest issue now: “With an overwhelming number of releases dropping each week, cutting through the noise is more challenging than ever, especially in electronic music. Labels must collaborate closely with their artists to tailor strategies specific to their needs — a one-size-fits-all approach simply doesn’t cut it.”
Jeff RemediosPresident of strategic developmentMike AlexanderExecutive vp of global marketing strategy, REPUBLIC CollectiveSteven RowenSenior vp of global marketing strategy, Island RecordsZoe BriggsVp of global marketing strategy, Republic Records/Mercury RecordsMyra deCastro-YournettVp of international marketing, Republic Records/Def Jam Recordings
Alexander says 2024 was “a massive year” for REPUBLIC Collective thanks to artists such as The Weeknd, Sabrina Carpenter, Chappell Roan and Noah Kahan. Last year’s highlights include Carpenter’s Short n’ Sweet debuting at No. 1 in 15 countries and moving 10 million units globally, according to REPUBLIC, as well as her becoming the first non-British artist to win the global success trophy at the 2025 BRIT Awards. Plus, Roan won best international artist and song at the 2025 BRITs, Kahan’s “Stick Season” became the year’s No. 1 single in the United Kingdom and the Wicked soundtrack broke the record for longest consecutive No. 1 reign on the U.K. Official Compilations Chart.
Biggest issue now: “I don’t see them as issues as much as I see them as opportunities,” Alexander says. “There are so many untapped audiences around the world that we’re just starting to reach.”
Kaiya SarkisGM, SALXCO UAM
Sarkis says SALXCO UAM takes “pride in breaking Arabic music, culture and sound globally” since CEO Wassim “Sal” Slaiby founded the label in 2021. Palestinian-Chilean pop star Elyanna, who made history at Coachella in 2023 by becoming the first artist to perform an entire set in Arabic, made her TV debut on The Late Show With Stephen Colbert in May 2024. In October, she joined Coldplay alongside Argentine actress-singer-songwriter TINI to perform “We Pray” — which became Elyanna’s first Billboard Hot 100 entry, peaking at No. 87 — during the band’s Saturday Night Live gig. “Our records have also made their mark on U.S. and global charts, including Nancy Ajram, Saint Levant and more,” she adds, “further solidifying our commitment to making a lasting impact and expanding the reach of Arabic music worldwide.”
Ed ScottHead of international label and artist marketingOlukorede “Kay” IkazobohCountry manager, NigeriaAmit SharmaCountry manager, IndiaLiza FaudyRegional director, Southeast Asia, Virgin Music Group
In October 2024, Virgin Music Group expanded its global reach after acquiring Outdustry, known for its artist and label services and rights management across China, India and other large-growth markets. Outdustry founder Ed Peto joined Virgin as senior vp of international strategy. Along with that acquisition, Virgin also scored wins with its Nigerian division. According to Ikazoboh, Virgin Music Nigeria invested more in homegrown ventures such as Dapper Entertainment and Rain Labs in Ghana, with the latter yielding impressive wins, including a Ghana Music Awards nomination for best hip-hop song from local artist Joey B.
Biggest issue now: “The ongoing struggle for fair and sustainable monetization,” Ikazoboh says. “While streaming has revolutionized access to music, revenue structures remain disproportionately skewed in favor of platforms rather than the creators themselves. For African artists and local music companies, this challenge is compounded by limited financial infrastructure, difficulties in collecting royalties across multiple territories and the need for greater industrywide transparency.”
Adriana SeinGlobal head of artist and market development, ADAHoward CornerManaging director, ADA U.K.Cesar LoresManaging director/head of EU A&R, ADA IberiaBen RalphManaging director, ADA AustralasiaNikoo SadrVp of international services and business development, ADA Nordics
ADA, the global independent music distribution and artist services division of Warner Music Group, spent the last year-and-a-half focused on growth in key markets. In Latin America, ADA invested in Brazil’s Sua Música Group and Venezuealan band Rawayana earned its first U.S. and Latin Grammy wins. In the United Kingdom, ADA renewed its partnership with Sonny Fodera, whose hit track “Somedays” was the country’s biggest-selling independent single of the year, according to ADA U.K. In Southeast Asia, ADA deepened its collaboration with DPM, one of Indonesia’s largest music companies, and forged a new deal with GMM Music, the region’s largest independent label. Plus, Norwegian star Emma Steinbakken won artist of the year at awards show P3 Gull and held the No. 1 spot on local radio for several weeks.
Biggest issue now: “We need to keep up with how rapidly technology is evolving the way fans discover and consume music,” Sein says.
Per SundinCEO, Pophouse Entertainment
In March, Pophouse announced that it had raised over 1 billion euros ($1.1 million) to invest in music rights. The company already has made deals with acts including KISS, Cyndi Lauper, Avicii and Swedish House Mafia. “The Avicii documentary I’m Tim, which premiered on New Year’s Eve 2024, was met with an overwhelmingly positive response, and we have several projects cooking on all of our catalogs with our fantastic artists,” Sundin says. “Our production leg is also thriving. ABBA Voyage — the avatar show expanding the legacy of a globally beloved band, and in which we are funding investors — has sold over 3 million tickets in under three years since being launched in May 2022. And Mamma Mia! The Party continues to sell out shows in London, Stockholm and Rotterdam [Netherlands].”
The music business today in a word: “Essential. And it always has been. Throughout history, during times of political chaos or uncertainty, music and entertainment have been a lifeline.”
Darius van ArmanCEOTom DaviesDirector of global marketing and campaigns, Secretly DistributionAli MurphySenior international marketing director, Secretly Group
The Secretly Group of labels and Secretly Distribution have been focused on fostering “key markets while working global campaigns, a recent highlight being Grammy-nominated Khruangbin’s A La Sala, which hit the top 10 across multiple European markets,” Murphy says. While the company is predominantly American, she notes that it is gaining solid footing in a number of international markets with albums or singles from Phoebe Bridgers, Mitski and Bon Iver “going gold in the U.K. in the past 12 to 18 months; a true testament to the quality of artists we work with and the teams we’ve built internationally.”
Biggest issue now: “Secretly is an artist-first company, and while we need to make sure to be pulling all the levers, we’re also dealing with real people — artists and fans,” Murphy says. “So it’s about striking a balance between authenticity, efficiency and creating unique moments that feel true to the artist and to which fans can connect.”
Texas trio Khruangbin earned a best new artist nomination at the Grammys in February with the album A La Sala and has gone top 10 in multiple European markets, according to Secretly Group.Pieter van RijnCEO, Downtown MusicRenato VanzellaGM of Latin AmericaLiz NortheastSenior vp of Europe, Middle East and Asia, FUGARaymond TapiaVp of A&R, Latin, Downtown artist and label services
Downtown Music CEO van Rijn says this year’s awards season was a “testament to the remarkable global talent we have the privilege of supporting.” Downtown reports that its artists and writers were involved with more than one-third of this year’s Grammy winners and garnered six wins at the Latin Grammys, while its publishing clients won 13 honors at the BMI Latin Awards. Successes came from FUGA client and Th3rd Brain artist Zerb, who topped Spotify’s and Shazam’s dance charts; Froukje, with the most streamed and best-selling Dutch album of 2024; and Netón Vega, a Peso Pluma collaborator whose debut album, Mi Vida Mi Muerte, hit No. 19 on the Billboard 200.
Biggest issue now: “Striking a balance between embracing innovation while building robust frameworks that protect rights holders and ensure long-term value for artists, songwriters and music businesses is key,” van Rijn says.
Dan WaiteCEO, Better Noise Music
Better Noise has long been one of the most dominant labels in mainstream rock, topping the Mainstream Rock Airplay Labels year-end chart for the third time this decade in 2024, while also claiming the top song (Nothing More’s “If It Doesn’t Hurt”) by the group Nothing More. Waite sees Better Noise as well-positioned to take advantage of streaming-era globalization, as evidenced by its success with Mongolian rockers The Hu. “The music industry today has never had a greater global opportunity for music inclusion and consumption across platforms, technology, communities,” he says. “The music taste palate of the world has evolved, and this gives rise to the next breakthrough band being from anywhere.”
Biggest issue now: “There is still only 24 hours in a day, and the music business faces headwinds from attention-competing alternatives for people’s time, lack of fair compensation for prior work from AI tech, the squeeze at the new-creator level by thresholds on payment and lack of truly independent distributor routes to market.”
Benjamin BuddeCEO, Budde Music
Over the past decade, Budde Music has expanded from its roots as a music publisher into talent management, concert promotion and the agency business. So in 2024 the company hired Maximilian Paproth to run its German publishing business and global A&R, freeing CEO Budde to drive further growth. The big creative win for the company — the biggest publisher in Germany after the majors and BMG — was celebrating the 40th anniversary of Alphaville’s “Forever Young.” Budde partners with Warner Music Group on the act’s recordings and publishes its songs globally. Its campaign sent the song to No. 1 on the TikTok Billboard Top 50 list and a David Guetta remix with singer Ava Max to No. 2 on Hot Dance/Electronic Songs.
The 40th anniversary of the hit “Forever Young” from German synth-pop group Alphaville has been the focus of a campaign by Budde Music, which partners with Warner Music Group on the act’s recordings and publishes its songs globally.Nestor CasonuPresident of Latin AmericaStephane BerlowManaging director of FranceSimon MoorManaging director of Asia-PacificFrederica WongDirector of AsiaSwantje WeinertSenior vp/head of A&R for Germany, Switzerland and Austria, Kobalt
“We’ve seen significant growth and success across our international operations,” Casonu says, pointing to Kobalt Music Publishing’s win for contemporary Latin publisher of the year at the 2025 BMI Latin Awards. (The publisher reports that it represents at least part of seven of the genre’s most performed songs in 2024.) “This was a huge milestone for Kobalt and something we are very proud of,” he says. “Our regional Mexican catalog continues to evolve. This year alone, we have officially signed Pedro Tovar of Eslabon Armado, Kartel Music, Hitkidz, Kevin Kaarl, Ana Bárbara and many more.” Meanwhile, in Asia, Kobalt has secured partnerships with Tencent and NetEase, as well as setting up licensing frameworks for streaming video on demand.
Biggest issue now: “Artificial intelligence is definitely the biggest issue we face,” Casonu says. “AI poses a significant threat due to the lack of regulations or a cohesive plan to control its use within our industry at this moment.”
Justin DowlingExecutive vp of U.K. and Europe, Primary Wave; director, Blue Mountain Music
The release of the biographical screen drama Bob Marley: One Love early in 2024 reenergized the catalog of the pioneering Jamaican reggae artist, Dowling says, creating one of the past year’s most notable spikes for the company’s roster. Marley’s catalog reaching billion-stream status was a huge win for Primary Wave, he says. “We waited a long time for it, and aided by the very successful One Love biopic, we achieved this for not one but two songs in the catalog in 2024.”
Biggest issue now: “Music should be cohesive. It should unite us, not divide us. So I am a smidge concerned about where the next stadium-filling act is going to come from that will draw in folks from across all generations and divides.”
Kim FrankiewiczExecutive vp of worldwide A&R, Concord Music PublishingTina FunkManaging director, Concord Music Publishing Germany, Switzerland and AustriaJaime GoughManaging director, Concord Australia and New Zealand
For Frankiewicz, 2024 was a year that “really demonstrated the global blend and reach” of Concord’s roster. “While homegrown in the U.K., the global sensation that is [Charli xcx’s] brat is truly unmatched,” she says. “It’s been thrilling to be a part of a cultural phenomenon and work with Grammy-winning executive producer A. G. Cook, as well as other contributors from our roster like George Daniel of The 1975, Julian Casablancas and more.” After diligently curating and developing a roster of writers and producers around the globe in a variety of genres, Concord found success with producer Sammy Soso’s work with South Africa’s Tyla, as well as Thai superstar and Blackpink member Lisa, co-writing multiple songs on her breakout solo album, Alter Ego.
Biggest issue now: “One of the biggest issues facing songwriters and publishers is the continually low royalty rates from streaming,” Frankiewicz says.
Shani GonzalesManaging director, Warner Chappell Music U.K.; head of international A&R, Warner Chappell MusicNatascha AugustinManaging director, Warner Chappell Music GermanyGustavo MenendezPresident, U.S. Latin and Latin AmericaSantiago Menendez-PidalPresident, Southern EuropeArica NgPresident, Asia Pacific, Warner Chappell MusicMatthieu TessierManaging director, Warner Chappell Music France
Warner Chappell Music had a fabulous year across all of its territories. Gonzales says she’s especially proud of signee Daniel Blumberg, who took home an Academy Award and a BRIT Award for his score for The Brutalist; producer P2J for his work on recent Burna Boy and Wizkid tracks; RAYE and Jon Shave for their abilities to “grow from strength to strength … with cuts across the globe”; and Amy Allen’s Grammy songwriter of the year win. Allen’s co-writes had a combined 11 straight weeks at No. 1 on the Pop Airplay chart in 2024 and 2025. “This win is massive in addressing the lack of recognition for songwriters,” Gonzales says.
Biggest issue now: “The need to respect U.K. copyright law and not let AI companies trade on music without permission,” Gonzales says. “The Make It Fair [campaign] was a great show of strength from the U.K. industry and goes to show just how big an issue it really is.”
David GrayManaging director, U.K./head of global A&RAlexandra LioutikoffPresident of Latin America and U.S. LatinThomas VidovicManaging director of Germany/senior vp of Austria and SwitzerlandYadira MorenoManaging director of Mexico and Central America/vp of new business development, Latin AmericaAna Rosa SantiagoSenior vp of Latin music, Universal Music Publishing Group
Since UMPG’s 2022 launch of its Global Creative Groups — a team of worldwide A&R executives that expand creative opportunities for songwriters across different markets — the major publisher has found multiple ways to use its globe-spanning offices as a competitive advantage. “Whether you’re talking about the music, the artists or the business side, the reality is that geographical boundaries are less significant than ever,” Lioutikoff says. In the last year, her team earned the ASCAP Latin publisher of the year award and celebrated signings and renewals with some of the best writers and artists in the region, including Carín León, Carla Morrison, Gerardo Coronel, Icon, Telefe, Babasónicos, Grupo Firme, Jorge Mexia, Deolli, JAO and JotaPé. “[It’s] another hugely successful year,” Lioutikoff says.
Biggest issue now: “We are constantly fighting for our writers’ work to be properly valued and fairly compensated,” Lioutikoff says. “The globalization of Latin music is obvious, and we want the monetization to match.”
Ben KatovskyCEO, Recognition Music Group
It’s been a busy few months for Katovsky and his team at Recognition Music Group, the newly rebranded company formerly known as Hipgnosis. Katovsky took over the helm of the catalog giant last year from its founder, Merck Mercuriadis, and is hard at work to reestablish the company after a roller-coaster year that led to Blackstone acquiring its public fund for $1.6 billion. Now Recognition is pivoting to become a “selective buyer” of music rights, as Katovsky puts it. “Recognition Music will be a very collaborative player in this space in ways that it was not historically. We want to work with other partners in this industry to do that.”
Biggest issue now: “Creating a legitimate and fully licensed market for generative AI that both embraces innovation and safeguards and stimulates the future of music and investment in music.”
Golnar KhosrowshahiFounder/CEOAnnette BarrettManaging director/global strategic liaison, ReservoirAlison WenhamCOO, Blue Raincoat Music; COO, Chrysalis RecordsJeremy LascellesCo-founder/CEO, Blue Raincoat MusicHussain “Spek” YoosufFounder/CEO, PopArabia; executive vp of international and emerging markets, Reservoir
“Reservoir’s work in emerging markets continues to be a key strategic element of our business,” Khosrowshahi says. The company has been investing heavily through its partnership with PopArabia in the Middle East/North Africa region. One focus has been Egypt, where the company recently completed deals with rappers El Sawareekh, artist Omar Kamal and production/distribution company RE Media. Other deals in the region included Lebanese star Nancy Ajram and her label/publisher, In2Musica, and Saudi Arabian hip-hop label Mashrex.
Biggest issue now: “A lack of transparency continues to plague the industry,” Khosrowshahi says. “We need greater transparency regarding generative AI to ensure concrete copyright protections that yield clarity around, permission for and compensation of [intellectual property] being used to train AI platforms. Second, we need continued greater transparency from DSPs on the royalties paid to publishers and songwriters so we can continue advocating to close the gaps in compensation across the publishing and recorded-music industries.”
Mary Megan PeerCEOElizabeth RoddaPresident of U.S. Latin, Latin America and global society relations, peermusic
Peermusic continued to expand globally, especially in specific European markets like Poland and Norway. The independent publisher acquired Arctic Rights, Norway’s largest indie publisher, and also opened its 40th branch in Poland. “We’re expecting growth in both of these territories as a result of our direct presence there,” Peer says. “We’ve already had our Norwegian writers work with Asian writers in both Seoul and Taiwan and expect these collaborations to continue.” Meanwhile, Rodda, who leads peermusic’s Latin American operations, is continuing to build up the company’s historically strong presence in the Spanish-speaking world.
Biggest issue now: “Data,” Peer says. “It is the key to getting our writers paid fairly and faster. I’m hopeful that the combination of industry focus and AI computing power will help us attack this challenge.”
Emily StephensonPresident, Downtown Music PublishingThando MakhungaManaging director, Sheer Publishing Africa
Downtown Music Publishing’s songwriters contributed to four 2024 Latin Grammy wins, 13 wins at the 2025 BMI Latin Awards and one ASCAP El Premio Award, according to its own tally. The division also struck global publishing deals in 2024 with Latin superstar Peso Pluma’s Double P Records and legendary Italian singer Mina, and “Parade” by Downtown Publishing client and French composer Victor Le Masne became the official theme song for the Paris Olympic and Paralympic Games. In addition to helping drive 40% year-over-year growth, Stephenson says these accomplishments helped Downtown achieve “soundtrack global milestones.”
Biggest issue now: “The ongoing fight for fair compensation for songwriters,” Stephenson says. “Despite their role in creating the music that drives the industry, songwriters still face disproportionate earnings compared with the value their work generates.”
Downtown Music Publishing’s deals in the past year included a global partnership with Double P Records, co-founded by Latin superstar Peso Pluma.David VenturaPresident/co-managing director, U.K./senior vp of internationalTim MajorCo-managing director, U.K.Jorge MejiaPresident/CEO, Latin America and U.S. LatinNasra ArtanHead of international A&RJohnny TennanderManaging director, Scandinavia/senior vp of A&R internationalPatrick StrauchManaging director, Germany, Sony Music Publishing
To foster the best songwriting around the globe, SMP “places a real emphasis on creative collaboration across territories, with A&R teams working hand in hand with their counterparts on a daily basis,” Artan says. “The focus is truly on creating opportunities for our songwriters beyond their home territories and helping ensure their songs travel.” In the last 12 months, Artan says the company has hosted songwriting camps in locations including Ghana, Spain, Taiwan and South Africa, inviting talent from around the world to connect and collaborate.
Biggest issue now: “The continued existence of traditional ‘buyout’ structures in some emerging markets,” Artan says. “In a world where music can go big internationally from day one, it is really important for songwriters and their teams to understand the value of their work and ensure they avoid unintentionally stifling future success and opportunities for a short-term gain up front with these types of deals.”
Siavash AghaiepourTalent agent, HRBooking
“Over the past year, we’ve had the opportunity to execute major international tours and expand our global footprint through strategic partnerships,” says Aghaiepour, who has worked with 21 Savage, A$AP Rocky, Cardi B and others. He points to HRBooking’s collaborations as an agency and a promoter with companies such as Live Nation and IAG, as well as its support of live events from Coachella and Rolling Loud to Juicy Fest in Australia. The company, which is headquartered in the United Arab Emirates, also secured artist bookings at cultural tentpoles like Fashion Week, the Super Bowl and Formula 1 races. Of the agency, which boasts 30 years in business, Aghaiepour says, “Relationships and loyalty mean everything to us. Our focus is always on doing good, honest business while continuing to grow with integrity and purpose.”
The music industry today in a word: “Fast. The pace of the industry is relentless — from how artists break to how trends shift and content circulates. Things can change overnight, and as a company, we’ve had to stay nimble, evolve quickly and anticipate the next move.”
Alfredo AlonsoPartner/entertainment directorDaniel MerinoEntertainment manager/promoter, Bizarro Live Entertainment
Bizarro Live Entertainment promoted some of the most important Latin tours in Chile, Peru, Colombia and Ecuador in the last 18 months. Most notably, Karol G’s Mañana Será Bonito two-show stop at Estadio San Marcos in Lima, Peru, and three-show stint in Chile’s Estadio Nacional in April 2024 generated more than $25 million in revenue combined. Other key concerts the company promoted included Maná, Ha*Ash and Duki, all in both Chile and Peru, as well as Emilia in Chile, Peru, Colombia and Ecuador. “We also produce and promote the Viña Del Mar Festival” in Chile, Alonso says, “the most important Latin festival in the world.”
Biggest issue now: “To work and create new spaces and formats for live music in an industry full of concerts,” Alonso says.
Alejandro ArceCEO, Zignia Live
Zignia Live’s operation includes venue management of Mexico’s Arena CDMX and Arena Monterrey and live-event production and ticket sales through its proprietary platform Superboletos. The vertical business model helped it sell over 2 million tickets to 250 events in Mexico last year, including more than 20 stadium dates. Standouts include 24 dates and over 500,000 tickets sold for Los Temerarios’ Hasta Siempre Tour, including eight sellouts at Arena CDMX. Zignia also promoted 22 dates for icon Luis Miguel, selling 300,000 tickets, and selling out 10 shows at Arena CDMX. Zignia is the official promoter of the NBA in Mexico, where it hosts games by the Boston Celtics, Miami Heat and Chicago Bulls. “Our next challenge is opening Arena Guadalajara,” Arce says. “In addition to promoting shows, we transform experiences.”
Melvin BennManaging director, Festival Republic
Benn runs Live Nation-owned Festival Republic, one of the leading U.K. festival promotion companies and home to a portfolio of festivals including Reading & Leeds, Latitude, Wireless, Wilderness, The Great Escape and Electric Picnic. The company also hosts shows at outdoor music venues such as Finsbury Park and Gunnersbury Park. Festival Republic’s Wireless Festival won best festival at the 2024 Music Week Awards. Meanwhile, Reading & Leeds benefited from continued innovations with a new, 40,000-capacity open-air Chevron dance stage and featured acts like The Prodigy, Nia Archives and Denzel Curry. Benn has also supported the efforts of Live Nation and the Rio Ferdinand Foundation to increase access to music industry careers. In March, he relaunched the ReBalance initiative to support female and nonbinary artists, which, as he told Music Week, “made a genuine positive impact” during its first three years.
Dion BrantCEO, Frontier Touring
“We’re seeing artist trajectories moving faster than ever before, and our team has shown great prowess at thinking one or two steps ahead,” Brant says. Gracie Abrams played a sold-out run of 3,000- to 5,000-capacity shows in Australia, which sold roughly 21,000 tickets in 2024. “She is now returning this year to a 12-date arena run that is tracking to sell out at 150,000 tickets,” he adds. Likewise, when Benson Boone’s single “Beautiful Things” took off, Frontier rebooked his run of shows from sold-out theaters and clubs into sold-out midsize venues, and Teddy Swims has already progressed to a multidate arena tour.
Biggest issue now: “Climate risk is real. We need to be clever and work out how promoters, affected venues, festivals and artists can work together with the insurance industry to protect everyone in the business — because extreme weather events will continue to happen.”
After a 2024 Australia tour playing 3,000- to 5,000-capacity shows, Gracie Abrams returned to the region this spring for a 12-date arena swing promoted by Frontier Touring.Chris BrayPresident, Europe, Legends/ASM Global
“Over the past 18 months, we’ve made tremendous progress in our European business through transformative redevelopments, strategic expansions and new partnerships,” Bray says, highlighting the transformation of Avicii Arena in Stockholm, the redevelopment of AO Arena in Manchester, England, and the launch of the new ChorusLife Arena in Bergamo, Italy. The Legends/ASM Global portfolio has also expanded with the additions of Sheffield City Hall and Sheffield Utilita Arena in England and its expansion in Portugal with taking over operations at Lisbon’s LX Factory. “Perhaps our most significant recent achievement has been seamlessly integrating the exceptional teams at Legends with our ASM teams,” Bray adds, “creating what I believe is now the best team in the industry.”
Biggest issue now: “One of the biggest challenges in live music is making it sustainable when costs are on the rise.”
Paul DaintyPresident/CEO, TEG Dainty
In 2023, Dainty was appointed an Officer of the Order of Australia for his “distinguished service to the community,” and he continues to distinguish himself. He booked Hugh Jackman’s international touring (including dates in Europe and North America) and several Broadway productions including Tina: The Tina Turner Musical, which sold more than 780,000 tickets for its Australia run. TEG’s 2025 shows include Cyndi Lauper, Katy Perry and comedian Nikki Glaser. The promoter that operates under the umbrella of TEG — the tech, live-entertainment and ticketing company — will also bring video game Stardew Valley’s theatrical show, Symphony of Seasons, to Australia and New Zealand this fall. Among Dainty’s top-grossing shows reported to Billboard Boxscore is a three-night stand by Jerry Seinfeld at the Rod Laver Arena in Melbourne, Australia, last June that grossed $5.5 million.
Biggest issue now: “Exchange rates for international touring; increased costs across the board.”
Sebastian de la BarraMaximiliano del RioPartners/promoters, Lotus Producciones
With the launch of Lotus Records — the booking, management and recording-deal division of Lotus Producciones — Del Rio and De La Barra can support local artists with live shows while focusing on international markets. “We are developing our artists from theaters and clubs to arenas and stadiums,” Del Rio says, highlighting Easykid’s booking at Pal Norte and Vive Latino and Soulfia at Lollapalooza Argentina. Between February and March, Lotus Records also teamed with its artists Francisca Valenzuela, Joe Vasconcellos, Movimiento Original and Lucybell to offer free shows throughout Santiago, Chile, where over 20,000 fans gathered.
Biggest issue now: “Exploring the development of new venues is a must in today’s business,” Del Rio says. “Just one arena is not enough for a market like Santiago, with local and Latin live music being so strong after the pandemic.”
Dennis DesmondChairman, Live Nation U.K. and IrelandDennis ArgenziaPresident of global touring, Asia Pacific, Live NationMarek LieberbergCEO/managing director, Live Nation Germany, Switzerland and AustriaErik HoffmanPresident, Live Nation CanadaJohn ReidPresident, Live Nation Europe, Middle East and AsiaMark VaughanSenior vp, Live Nation Australia and New ZealandRoberto De LucaPresidentCorrado RizzottoHead promoter, Live Nation Italy
Desmond says that 2024 “was the best year ever for live music with fantastic sales for Coldplay, Taylor Swift, P!nk and incredible growth for artists like Charli xcx, Fontaines D.C., Sleep Token, Chappell Roan, Sabrina Carpenter, RAYE and Teddy Swims.” He notes the strong buzz for marquee Live Nation shows from Oasis, Beyoncé, Robbie Williams, Kendrick Lamar/SZA, Lana Del Rey and Drake. “There is nothing better than a good live show,” Desmond says. “Artists continue to excel; the future is bright.” In February, Live Nation reported it had achieved a record $2.2 billion worldwide in adjusted operating income in 2024, up 14%, on record revenue of $23.5 billion, up 2%. Despite having 30% fewer stadium shows in 2024, the total number of fans grew to a record 151 million from nearly 55,000 Live Nation events, up 9.2% year over year, according to the company.
Marcelo FigoliOwner/CEO, Fenix Entertainment
Argentina-based conglomerate Fenix Entertainment — which encompasses live shows, amusement parks, soccer teams and media — has achieved many milestones as a global entertainment company. “However, without a doubt, one of the most significant achievements in the past 18 months was Luis Miguel’s world tour,” Figoli says. The executive partnered with Henry Cárdenas’ Cárdenas Marketing Network for Luis Miguel’s 2023-24 tour, which became not only the highest-grossing tour by a Latin artist of the year but also the top-grossing tour by a Latin artist ever. The outing welcomed more than 2.8 million fans and grossed over $404.4 million.
The music business today in a word: “For me, it has always been the same … happiness.”
Kaori HayashiPresident/CEO, Hayashi International Promotions
HIP leads one of Japan’s largest and most established concert promotion companies and enjoyed a string of big-time sellouts in the last year that included two sold-out Dua Lipa shows at Saitama Super Arena, the “Levitating” singer’s first arena dates in Japan. Hayashi also booked “a record-breaking seven sold-out Tokyo Dome shows of Bruno Mars in January 2024,” she says, along with three sellout Maroon 5 shows at the 55,000-capacity Tokyo Dome, “surpassing the box-office receipts of their groundbreaking 2022 tour in Japan.” In April, Live Nation acquired HIP, giving the world’s largest concert promoter a major new presence in the market.
Biggest issue now: “Some resistance to higher-priced tickets, which previously had been the first ticket tier to sell out in Japan.”
Ashish HemrajaniFounder/CEO, BookMyShow
BookMyShow has played a pivotal role in redefining India’s live-entertainment landscape, establishing the country as a must-visit destination on global touring circuits. The company worked with Live Nation to bring the iconic Lollapalooza festival to Mumbai, India, starting in 2022 and, this year, hosted headliners Green Day and Shawn Mendes. “The momentum has been accelerating through pop music as well, with Maroon 5’s India tour and the six-city Ed Sheeran +-=÷x Tour spanning seven shows in February 2025, following a successful Mumbai show in March 2024 with over 50,000 fans,” Hemrajani says. BookMyShow and AEG Presents Asia co-promoted Sheeran’s shows this year. BookMyShow also produced and promoted Coldplay’s Music of the Spheres world tour across Mumbai and Ahmedabad, which broke the record for the biggest stadium shows in the 21st century.
The music business today in a word: “Transformative.”
Alex HillPresident/CEO, AEG InternationalAdam WilkesPresident/CEO, AEG Presents, Europe and Asia-PacificJohn LangfordCOO, AEG EuropeJim KingCEO of European festivals, AEG PresentsSteve HomerCEO, AEG Presents U.K.Michael HarrisonSenior vp of global touringSimon JonesSenior vp of international touring, AEG Presents
AEG reorganized its operations for Asia-Pacific and Europe earlier this year following the sale of its share in ASM Global and a corporate restructuring to bolster its international divisions. Wilkes was named to the new position of president/CEO of AEG Presents, Europe and Asia-Pacific, while Hill was appointed to head of AEG International. Together, they will continue overseeing projects including the development of the 6,000-seat theater and UOB Live entertainment district in Bangkok; the Bangkok Mall Arena, a multipurpose arena project in Nagoya, Japan; and an arena-anchored entertainment district project planned for Expo Park in Osaka, Japan.
Biggest issue now: “The industry is still recovering from the effects of the pandemic,” Harrison says. “Despite some massive recent tours, rising costs, insurance challenges and global economic uncertainty continue to make touring — especially for midlevel artists — financially difficult. These factors hinder artist development and the ability to build international audiences sustainably.”
Walter KolmFounder/CEOPascual EgeaHead of Europe, WK Entertainment
Latin music continues to make waves worldwide, and WK Entertainment artists are helping to drive its success. “Maluma is setting the tone for Latin music globally — his + Pretty + Dirty 2025 Tour is selling out arenas across Europe, including three nights at Madrid’s Movistar Arena, each with over 15,000 fans,” Kolm says. The company also celebrated Carlos Vives’ Person of the Year win at the 2024 Latin Grammys, calling it “a well-deserved recognition for his impact on our culture.” Rising star Emilia — Billboard Español’s February cover star — sold out 10 shows at Movistar Arena in Buenos Aires, Argentina, in April 2024 in 10 hours and packed four nights at Estadio Vélez in Argentina, according to Kolm. “It’s an exciting time,” he adds, “not just for our artists, but for Latin music as a whole on the global stage.”
Biggest issue now: “Fans just don’t have the same [disposable] income as before, and globally, we’re seeing the effects,” Kolm says.
Jessica KoravosPresident of internationalGary HutchinsonExecutive vp of global touring and content, Oak View Group
The U.S.-based Oak View Group opened its first international arena, Co-op Live in Manchester, England, in May 2024 with a show from veteran local band Elbow. Despite several rescheduled concerts and a three-week delay due to safety issues, the arena has been a triumph for the OVG team, and it sold over 1 million tickets for 60 concerts by the close of its first calendar year. And with the launch of OVG Stadia last fall, Hutchinson believes 2025 will be even bigger for the global team. “I would highlight the level of stadium shows we are handling with our clients in 2025,” he says. “The market is busier than ever, and we have a huge 2025 ahead.”
Biggest issue now: “Keeping up with the ever-changing ecosystem in such a big business while also meeting the greater consumer demands,” Koravos says.
Simon MoranManaging director, SJM Concerts
Moran leads Manchester, England-based SJM Concerts, which finished at No. 5 on Billboard’s year-end 2024 Top Promoters chart, with the equivalent of $347.6 million and 4.4 million tickets sold across 733 shows. Among SJM’s 20 highest-grossing engagements were 10 by pop group Take That, including a six-night stand at London’s O2 Arena that sold 90,811 tickets and grossed the equivalent of $11.3 million. SJM has teamed with Live Nation, MCD Productions and DF Concerts for the long-awaited return of Oasis, with the Gallagher brothers booked for a 19-date U.K. and Ireland tour this summer. The company’s 2023 year-end financial report stated: “We remain focused on connecting artists with their fans and understanding the needs of the fan base.”
Take That’s most recent U.K. tour included a six- night stand at the O2 Arena in London, promoted by SJM Concerts, that drew nearly 91,000 fans.Huston PowellPromoter, C3 Presents
Since its inception as a touring festival in 1991, Lollapalooza has staged its U.S. edition at Chicago’s Grant Park and, beginning in 2010, has expanded internationally to markets including Chile, Argentina, Brazil, France, Germany and Sweden. In 2022, Lollapalooza India debuted in Mumbai with C3 Presents working alongside Indian promoter-ticketer BookMyShow. “We had our first Lollapalooza India festival sell out this year,” Powell says of the event that included headlining performances from Green Day and Shawn Mendes. “This was only our third edition, and our partners, BookMyShow, worked incredibly hard to ramp up and deliver a world-class show in a market where multigenre shows like Lolla have never existed before.”
Biggest issue now: “As a festival promoter, we continually are challenged to look for ways to provide the best fan experience to stand out from the endless options fans have today.”
Klaus-Peter SchulenbergCEO, CTS Eventim
With 2024 revenue of 2.8 billion euros ($3.2 billion) — up 19.1% over 2023 — CTS Eventim is Europe’s biggest ticketing company and concert promoter, and it’s making global moves. In late 2023, the company broke ground on a Milan arena to open in 2026, expanded in South America and France and partnered with AXS on ticketing for the 2028 Summer Olympics in Los Angeles. In 2024, the company also closed its deal to acquire See Tickets, which “reinforced our position as one of the world’s leading ticketing providers,” Schulenberg says. “This unique combination of local expertise and global reach enables us to offer artists a truly international touring platform deeply rooted in local markets.”
Biggest issue now: “One of the biggest opportunities — and responsibilities — for the music industry is to make even better use of data. At CTS Eventim, we already leverage our data to help artists and promoters connect with their audiences more effectively and to create outstanding fan experiences.”
Tricia SilliphantManaging director of music and live entertainment, Maple Leaf Sports & Entertainment
Despite rising costs, Silliphant and MLSE still find ways to consistently deliver record-breaking grosses, as well as ticket and merchandise sales for Toronto venues like Scotiabank Arena, the Coca-Cola Coliseum and BMO Field. “Toronto is a market known as one of the most culturally diverse cities in the word,” Silliphant says. “This rich diversity is mirrored in our venues showcasing an international scope of content.” While full-scale renovations are underway at Scotiabank Arena and BMO Field, Silliphant remains more motivated than ever to match the demand for live music across the globe, stating, “We look forward to the continued growth possibilities as we invest to meet the constantly evolving needs of artists and fans alike.”
Biggest issue now: “The rising cost of touring and producing live events is an issue that stands out. From production expenses to travel and labor costs — and, in our case, the fluctuating Canadian dollar — combined with local or venue-specific operating costs, all continue to increase significantly.”
Alejandro SoberónFounder/CEOLeizer Guss GussFestivals director, OCESAOctavio PadillaDirector, OCESA Seitrack
Now part of Live Nation, OCESA remains a leader in the live-entertainment landscape across Latin America, particularly in Mexico and Colombia, setting new standards in production, reach and fan engagement. “One of our proudest achievements has been the full renovation of Estadio GNP Seguros — now recognized as the world’s leading concert venue,” Soberón says of Mexico City’s iconic venue formerly known as Foro Sol, home to Shakira’s unprecedented seven-show residency as part of her Las Mujeres Ya No Lloran world tour. Guss Guss highlights how “fast and effective” OCESA was to jump on the new wave of regional Mexican music with the development of two Mexico City events: Arre Festival and the female-centered Hera HSBC Festival. For Padilla, OCESA Seitrack’s alliance with Warner Music on Touring the World, a booking agency based in Colombia to develop Warner’s roster in America and Europe, is worth celebrating.
The music business today in a word: “Unstoppable,” Padilla says.
Jasmine YoungCo-founder, West Africa Music & Arts Festival
Young says that last June, when the inaugural, four-day West Africa Music & Arts Festival was held in Accra, Ghana, 20,000 fans attended Area Code Jam, the closing-night concert in partnership with Ghana’s premiere urban radio station, YFM; Ghanaian singer Black Sherif headlined. “We have built bridges between global music markets and emerging talent in West Africa, opening new pathways for cross-border collaborations and creating sustainable opportunities for artists and music professionals alike,” says Young, who is also director of the Warner Music/Blavatnik Center for Music Business at Howard University in Washington, D.C. She adds that this year’s WAMA festival will return to Accra in June.
Biggest issue now: “The lack of practical knowledge for aspiring executives and artists” is a pressing concern, Young says. “Our goal is to educate, excite and empower the next generation of music industry leaders.”
Emma BanksChris DalstonMike GreekMarlene TsuchiiCo-heads of international touringNigel HasslerMusic touring agent, CAA
The team guided stars like Charli xcx, Gracie Abrams, Sabrina Carpenter and Tate McRae on global tours in increasingly larger venues, from “theaters to arenas, as well as headlining festivals and stadiums,” Tsuchii says. Alongside these young female powerhouses, clients including Sam Fender, Hozier and Noah Kahan achieved similar success on the road. Kahan’s 2024 run ranked as one of the year’s top-grossing tours, bringing in $102 million and drawing 1.1 million fans. Meanwhile, CAA’s music brand partnership department used this momentum to secure major endorsement deals for multiple clients.
Biggest issue now: “Unfortunately, we are faced with the same issues we have combated for years: rising ticket charges, the secondary-ticketing market and scalping,” Tsuchii says. “These issues remain as much of a problem as they have for years, and now, with the rabid young fan base for these rising superstars, the appetite for tickets is unprecedented.”
In March, Sam Fender won the BRIT Award for best alternative rock act after his album People Watching earned the biggest opening week for a British solo act since 2022.Matt BatesManaging partner/CEORick LevyPartner/board memberBen WinchesterBoard member/agentPete NashPartner/agent, Primary Talent International
The powerhouse U.K. indie agency continues to place its artists on the biggest stages, including Glastonbury, where this year clients The 1975 will headline the festival’s first night. (Other clients including beabadoobee, Wolf Alice and The Libertines are also on the bill.) After brief stints under ICM and then CAA, Primary Talent International went independent once again in 2023, and Levy says it’s proud to “remain an independent music-only agency … able to book so many of the incredible artists on our roster into the largest international festival in the world, giving fans what they want.”
Biggest issue now: “AI,” Levy says. “This will not be the first time that technology has disrupted the business. But the challenge for us as agents is to ensure that the opportunities that are presented benefit not just the labels and big companies operating in our ecosystem but the artists themselves, who are our sole concern.”
Tomas CookmanFounder, Nacional Records/Latin Alternative Music Conference; partner, Magnus Talent Agency
Cookman — whose Nacional Records label is marking its 20th anniversary with ongoing success by YADAM, Nortec Collective, Los Master Plus, DJ Raff, Marrón and Marco Flores y la Jerez — more recently partnered with Magnus Talent Agency (Marc Anthony and Michel Vega’s company) to unite booking and management teams across countries. Cookman also celebrated the 25th anniversary of the Latin Alternative Music Conference. “Both our virtual format and our recent in-person conference, which was our biggest one yet, were impactful to both industry and artists,” he says. Cookman adds that on the management side, “the global growing success of Trueno has been a highlight for me.”
Jeff CraibCEOTom KempPresidentJoel BaskinVp, The Feldman Agency
Canadian powerhouse The Feldman Agency remained one of the country’s key live players in 2024. According to the company, among its achievements are three sold-out Shania Twain performances in Newfoundland (which sold over 45,000 tickets and grossed more than $8 million) and a very successful Avril Lavigne arena tour (which sold over 100,000 tickets for nearly $10 million in gross). “After 50 years in business, we’ve just celebrated our best year yet,” Craib says, citing “a year marked by growth in arena-level touring, exciting new artist signings, talent-buying and a significant year-over-year increase in global bookings.”
Biggest issue now: “The new costs of touring and reaching the fans,” Craib says.
The Feldman Agency in Canada booked Avril Lavigne’s 2024 arena tour, which grossed nearly $10 million.Amy DavidmanDevin LandauFounding partners, TBA Agency
Over the past year, TBA Agency’s clients have expanded their international reach, with Argentina’s Ca7riel & Paco Amoroso appearing at such events as Coachella, Glastonbury, Roskilde and Fuji Rock. The company also booked the first shows for artists such as Mexico’s Dámaris Bójor and Australia’s Delivery. “We are not afraid to get involved early and work with the artist and their team from the ground up,” Davidman says. “We believe that hard work and a clear strategy early in an artist’s career can really position them for future success.”
Biggest issue now: “With all the current uncertainty worldwide, we are worried about the accessibility of our internationally based artists, our politically outspoken artists and our queer artists,” Davidman says. “What can we do as agents to help support not only our clients but also the cultural institutions we lean on for funding and opportunities? We all need to support this touring ecosystem from all angles over the coming years.”
Lucy DickinsGlobal head of contemporary music and touringJosh JavorPartner/co-head of London officeBrian CohenRob MarkusPartners/agentsJames SimmonsAgent, WME
Among WME clients, Coldplay’s Music of the Spheres tour surpassed $1 billion in global revenue; Luis Miguel’s run has become the highest-grossing tour by a Latin artist of all time; Dua Lipa’s Radical Optimism tour has sold over 350,000 tickets and grossed $43.4 million so far, with more than 50 dates left on the books through December; and Olivia Rodrigo’s GUTS tour sold over 1 million tickets. Plus, Linkin Park and Zach Bryan scored huge numbers on tours that continue into 2025. Dickins notes the booking advantage of WME’s presence in the Asia-Pacific region and says the agency also recently expanded its Latin division by opening a Miami office. “I’m proud of our truly global presence,” she says, “which continues to grow year after year.”
Biggest issue now: “The rising cost of touring continues to be top of mind for us as it affects both artists and fans,” Dickins says. “Logistics, travel and accommodation costs have made it more difficult for emerging artists to get out on the road.”
Jon OllierCEO/agent, One Fiinix Live
The British firm booked a worldwide arena tour for Japanese artist Ado, “which we hope could become the biggest international tour for a Japanese artist,” Ollier says. One Fiinix Live also promoted an eight-city regional tour for Ed Sheeran on the Indian subcontinent, “much of which was a first for a Western artist,” he says, and worked on Sheeran’s six-night stand in Hangzhou, China. “All of which,“ Ollier says, “speaks to international business cooperation on a profound scale.”
Biggest issue now: “I am very sad to say it, but I think, yet again, we find our industry’s biggest threat intertwined with that of the rest of humanity: global security.”
Peter PappalardoExecutive vp/head of global touringKeith NaisbittExecutive vp of global touring, Independent Artist Group
“Our international roster continues to grow with headlining talent who had great success this past year,” Pappalardo says. That includes Billy Joel, who last August sold out Principality Stadium in Cardiff, Wales; Rod Stewart, who sold out several European arenas and booked the Legends slot at this year’s Glastonbury Festival; and Disturbed, Ghost, Falling in Reverse and Ne-Yo, all of whom also sold out arenas on the continent, according to Pappalardo. He adds that grosses for Dream Theater’s European and South American shows “were double what they have done in the past.”
Biggest issue now: “Profitability,” Pappalardo says. “Ticket sales and fan support have been great, but the cost of touring, along with high taxes, makes for ever-challenging margins.”
Julien PaquinVinny CinquemaniCo-presidents, Paquin Artists Agency
The Canadian agency had plenty of wins at home — including signing U.S. artists such as The Offspring, John Fogerty and Papa Roach for representation in Canada — but those were just one part of an impressive global expansion. In recent months, Paquin says, “our international business has seen remarkable growth, with record-setting success in Canada and significant breakthroughs across the U.S., Australia, [Middle East and North Africa] and South America.” Together, those moves helped Paquin’s “touring business [shatter] previous milestones, driving strong engagement and revenue growth across these key markets,” he adds.
The music business today in a word: “Resilient,” Paquin says. “The industry has not only adapted but remained strong in the face of challenges, with a major return to live touring fueled by heightened demand, excitement and urgency. This persistence has led to some of the most successful box-office years in recent history.”
Paquin Artists Agency signed John Fogerty for representation in Canada.Narcís Rebollo MelcióPresident/CEO, Global Talent Services
Originally launched by Universal Music Group in 2007 as a full-service Latin artist services agency focused on management, booking, promotion and brand partnerships, GTS now has 10 offices in key markets, a roster of 150 acts and has “solidified its position as the first global Latin management company,” Rebollo Melció says. Notably, according to GTS, Morat’s stadium tour generated over $50 million in revenue across 25 stops, David Bisbal’s Todo es Posible en Navidad album featured a performance atop New York’s Empire State Building and Aitana premiered her Metamorphosis documentary on Netflix and forged a major partnership with Santander Bank for ticket presales. Additionally, Spanish singer-songwriter Pablo Alborán joined the roster, GTS managed the first edition of the talent show Operación Triunfo on Amazon Prime and its direct-to-consumer platform sold over 1 million tickets, “a testament to the company’s innovative approach, utilizing technology, data and [customer relationship management] to benefit the artists,” Rebollo Melció adds.
Neil WarnockCo-head of U.K./head of global touringIrene AgbontaenDirector of artist brand strategy, music brand partnershipsTom JonesScott MantellJames WrightMusic agents, UTA
Wright says that UTA has been “increasingly strategic and intentional” about building teams around the company’s clients, a roster that includes global superstars and touring juggernauts such as Karol G and Bad Bunny. The approach is “really delivering” as the agency and its clients maneuver in an increasingly dynamic international market. “As our teams become more than the sum of their parts,” Wright says, “we’re unlocking new opportunities for our artists — be that new audiences in live or connecting them to the right brand and commercial partners.”
Biggest issue now: “Costs,” Wright says. “On the artist side, touring has become increasingly expensive due to inflation, rising production costs and logistical challenges, making it difficult for artists to break even. On the venue side, operating costs are substantial, making it especially challenging for grassroots venues to remain financially viable — despite their crucial role in nurturing the next generation of headliners.”
James WhittingExecutive vp/managing executiveDave BlackgroveMichael Harvey-BrayAdele SlaterSenior vpsAnna BewersVp, Wasserman Music
Whitting says Wasserman Music “continues to be the agency known for breaking acts globally,” citing the incredible success of Chappell Roan as a “great, recent and obvious“ example, but “there are plenty more.” He calls this sustained success a testament to the company’s strength in A&R, but also a function of its creative approach to touring and long-term career development. “The old, traditional ways don’t work anymore,” Whitting says. “You need to think differently, tour differently, market differently and time everything perfectly at global scale. When all those things work together in concert — no pun [intended] — the results are plain for all to see.”
The music business today in a word: “Live,” Whitting says.
In the wake of winning the best new artist Grammy Award in February, Chappell Roan has upcoming festival dates across Europe booked by Wasserman Music.Manuel AbudCEO, Latin Recording Academy
This year, the Latin Recording Academy announced a new field and category for best music for visual media and a new category for best roots song — singles or tracks only — as well as revisions to the names or rules for six other categories. “Music is dynamic, and the landscape continues to change with the lines between genres becoming less defined as creators develop a fusion of sounds,” Abud says. The Latin Grammys return this year to their longtime base in Las Vegas, following ceremonies in Spain in 2023 and Miami in 2024. Interest in hosting the next Latin Grammy Week has since been enormous. “We have defined and implemented a formal [request for proposal] process for potential host cities,” Abud says, “and the response has been overwhelming.”
The music business today in a word: “Strong. The mainstream cultural powerhouse that is Latin music is undeniable, with Spanish-language artists topping global streaming charts and flexing unprecedented dominance on the world stage.”
With four victories, Juan Luis Guerra was the top winner at the 2024 Latin Grammy Awards, which was held in Miami. The event will return to Las Vegas this year.Charlie LextonCOO, Merlin
In the last year, Merlin has focused on data. “The data analytics capability we have built within Merlin allows us to take the vast array of data received under our partnerships around the world and transform it into actionable intelligence [that delivers] unique insights to our record label and distributor members,” Lexton says. “These insights are derived from billions of streams generated by music from tens of thousands of record labels globally, helping our members to better understand audience behavior, optimize revenue opportunities and make data-driven strategic decisions, equipping them to thrive in a highly competitive and ever-evolving digital music landscape.”
Biggest issue now: “Accepting and embracing that AI isn’t Napster, it’s fire. By ‘fire,’ I mean it would be a mistake to treat the advent of AI as merely a technological disruption. It is a fundamental transformation.”
Victoria OakleyCEO, IFPI
Oakley, who joined IFPI in June, says the global recording business trade organization’s March 2025 Global Music Report “was a great moment for IFPI,” as well as for her. “This year’s report tells a fascinating story of an industry that continues to evolve and innovate” as IFPI’s member labels continue to invest in artists while facing challenges from online distributors and AI music — which Oakley identifies as the industry’s biggest issue. “It is very clear that the developers of generative AI systems are using copyright-protected music to train their models without authorization,” she says. “This poses a massive threat to human artistry.”
The music business today in a word: “Innovative.”
John PhelanDirector general, International Confederation of Music Publishers
In 2024, ICMP’s efforts helped get the Artificial Intelligence Act passed by the European Union, which, among other things, requires technology companies to keep detailed records of data sets used to train generative AI so copyright holders can track (and potentially block) usage. “The team here eats up the biggest industry difficulties for dinner,” Phelan says. “The ICMP team has engaged with more than 100 laws around the world that directly affect the world’s music publishing companies and the tens of thousands of songwriters and composers they represent. Almost 40 of those are different AI laws.”
Biggest issue now: “That if we’re to succeed and build the basis for future growth, it’s a case of moving hundreds of needles, not a handful, as in the past. So increasing digital streaming rates, growing emerging markets, preventing risks to business, enabling licensing efficiency, shortening long tails, preventing commercial-scale piracy, technologizing metadata, working with every government out there… there are no shortcuts to ‘right.’ ”
Helen SmithExecutive chair, IMPALA
Smith, as IMPALA’s executive chair, has led the nonprofit organization in “taking a stance on tricky issues that are pivotal for the whole sector, and we have a few right now — consolidation, reform of streaming, remuneration, AI, [electronic data interchange], sustainability and basic copyright, including in the USA,” where recording rights holders are not compensated for radio play, she says. “Our members are leaders and their work at labels is more important than ever, as illustrated in the first report published last year by ORCA [the Organization for Recorded Culture and Arts], the think tank for international independent labels.”
Biggest issue now: “The need to invest in diversity to grow the market. We believe our streaming plan has many of the answers, as it identifies diversity as holding the biggest potential for the whole market to grow. However, juggernaut economics as manifested in consolidation and two-tier streaming allocation models are getting in the way.”
Honorees in this sector were chosen solely by Billboard’s editorial team and not through industry nominations.
Casper BjørnerCEO, STIM
In 2023, the Swedish collective management society celebrated its 100th anniversary with record-high revenue of 3.1 billion krona ($291.9 million), up 14.2% from the previous year. STIM expects that its 2024 results (to be announced in May) will surpass that, fueled in part by the success of Swedish songwriters in K-pop, which STIM has supported with the public-private partnership Export Swedish Music. Like its sister societies when it comes to AI, Bjørner says STIM is developing a licensing framework that embraces the technology while protecting creators’ rights. “We’re always in the room” with policymakers, he adds, “making sure there’s a balance.”
The music business today in a word: “Ever-changing.”
Andrea Czapary MartinCEO, PRS for Music
U.K. collecting society PRS for Music distributed in 2023 943.6 million pounds ($1.3 billion) in royalties, 13% more than the previous year, and its revenue broke the billion-pound barrier. For 2024, it expects to distribute over 1 billion pounds ($1.3 billion). Czapary Martin is driving innovation to lower costs, and last year PRS reduced multiterritory online administration fees by 20%. “We continue to drive industrywide improvements in metadata management through our Nexus project,” Czapary Martin says. “I can’t wait to see the long-term improvements it will bring over the coming years to songwriter credit identification and royalty accuracy.”
The music business today in a word: “Globalized. Music is increasingly transcending geographic boundaries, with music creators from all over the world collaborating and blending diverse cultural influences.”
Tobias HolzmüllerCEO, GEMA
The German collective licensing society took in 1.3 billion euros ($1.4 billion) in 2024, 4% more than in the previous year. “We’re still growing faster than the German economy,” Holzmüller says, “and we have a transformative agenda in terms of speed and transparency.“ It has also taken a lead in protecting creators’ rights from AI companies — suing OpenAI and Suno for copyright infringement in the course of training their algorithms — in cases that could shape the future of the technology in Europe. GEMA is also setting up a series of cooperative initiatives with other societies, including One Arena, a multiterritory platform for big tours.
The music business today in a word: “Solid.”
Peter LeathemCEO, PPL
PPL continues to break revenue records, having surpassed 300 million pounds ($396 million) in collections in 2024, the organization’s 90th year in business. “Collections are up over 100 million pounds [$132 million] in the last decade” since 2014, Leathem says. In 2014, PPL paid over 60,000 performers and recording rights holders, while last year, it paid over 172,000 performers and rights holders, he adds. Also, PPL collections include taking responsibility for neighboring rights internationally, which it has been doing for around 20 years. “Today, PPL is the leader, with 113 agreements with CMOs [collection management organizations], covering 95% of the neighboring rights markets by value,” Leathem says. Lastly, he adds that PPL has recruited and retained hundreds of performers as members, including Charlie xcx, Lewis Capaldi and the estate of John Lennon.
U.K. performance society PPL will collect broadcast and public performance royalties for the estate of John Lennon under an agreement announced in October.Gadi OronDirector general, CISAC
As head of the international trade organization of collecting societies, Oron helps steer a thriving sector of the music business — global revenue grew 7.6% to $12.7 billion in 2023 and is up 31.7% since 2019. Oron supports that growth by advocating for creators’ rights in AI and CISAC supported the first global economic study on its possible effects. Oron also helps drive innovation in collections and distributions, and CISAC is working to modernize the data exchange system CIS-Net and to expand the International Standard Musical Work Code system that identifies works to get creators paid faster and more accurately.
The music business today in a word: “Supercharged.”
Cristina Perpiñá-RobertCEO, SGAE
Over the past year, SGAE has achieved record-breaking collections of 390 million euros (over $423 million), the highest in its 125-year history, while international revenue has reached an all-time high of 35 million euros ($40 million). “We have also focused on continuous modernization to enhance efficiency, transparency and accuracy in royalty collection and distribution,” Perpiñá-Robert says, noting that a key achievement has been the implementation of digital tracking technology to better monitor music usage, particularly on streaming platforms. Among other significant accomplishments: “securing a 5% cap on publishing returns from TV broadcasters, a major step toward fairer and more transparent distributions.”
Biggest issue now: One trend that will erode the sustainability of the music industry is “festival promoters disputing fair tariffs, arguing that music is not the primary asset in their business models.”
Cécile Rap-VeberCEO, SACEM
Over the past few years, the French collective rights management society has set successive records for both revenue and distributions: it collected a record 1.6 billion euros ($1.73 billion) in 2024, up 7.7% from 2023. Much of that success reflects Rap-Veber’s modernization efforts, including the current SACEM 2030 strategy, which emphasizes collections efficiency (SACEM reduced its expense ratio to a historical low of 10.8%) and service for members. SACEM also worked with Deezer to apply the artist-centric royalty model to the streaming service’s publishing payouts.
Biggest issue now: “One of the main challenges facing the music business today lies in the growing impact of artificial intelligence. AI raises crucial questions about the transparency and remuneration of works used to develop these tools.”
Jose Luis SevillanoCEO, AIE
Sevillano has positioned the artist performing rights society AIE as “the key bridge between Europe and America.” Based in Spain, AIE represents the rights of over 40,000 artists and has expanded beyond Spain to the “neighboring rights” of Spanish-language performers around the world. “We have established ourselves as the leading organization in managing the Spanish-language Latin repertoire with a continuous and sustained increase in artists,” Sevillano says. Last year, AIE achieved “record-breaking” distribution of royalties to its artists and developed advanced platforms to establish a Spanish Music Data Space that will contain all information on Spanish music, including consumption, export numbers and individual artists’ royalty numbers in a single place.
The music business today in a word: “Disruption, first and foremost, in the sense of a radical change that completely reshapes the way this industry operates. Disruption also in how new musical content is being created across all areas: video games, audiovisual productions and mainstream music.”
Contributors: Trevor Anderson, Nefertiti Austin, Katie Bain, Dave Brooks, Eric Renner Brown, Anna Chan, Ed Christman, Leila Cobo, Janine Coveney, Hannah Dailey, Thom Duffy, Chris Eggertsen, Griselda Flores, Eric Frankenberg, Raquelle “Rocki” Harris, Lyndsey Havens, Gil Kaufman, Steve Knopper, Carl Lamarre, Elias Leight, Robert Levine, Jason Lipshutz, Joe Lynch, Heran Mamo, Elizabeth Dilts Marshall, Taylor Mims, Gail Mitchell, Melinda Newman, Jessica Nicholson, Glenn Peoples, Sigal Ratner-Arias, Isabela Raygoza, Kristin Robinson, Jessica Roiz, Dan Rys, Michael Saponara, Crystal Shepeard, Andrew Unterberger
Methodology: Billboard’s Global Power Players (published in previous years as International Power Players) recognizes high-achieving music executives whose primary responsibility is outside the United States, from the selected industry sectors shown. Nominations for all of Billboard’s industry-sourced executive lists open no less than 150 days in advance of publication, and a submission link is sent by request before the nomination period. (Please email [email protected] for inclusion on the email list for nomination links and for how to obtain an editorial calendar.) Billboard’s Global Power Players were nominated by their firms and chosen by editors based on factors including their company’s impact on consumer behavior, as measured by Billboard charts; sales and streaming performance; market share; revenue, or, where not available, Billboard revenue estimates, which may be aided by company guidance; social media impressions; and radio audiences reached, using data available as of March 30. Career trajectory and momentum were also considered. Where required, U.S. record-label market share was consulted using Luminate’s current market share for albums, plus track-equivalent and streaming-equivalent album consumption and Billboard’s quarterly top 10 publisher rankings. Unless otherwise noted, Billboard Boxscore and Luminate are the sources for tour grosses and sales/streaming data, respectively.
This story appears in the May 17, 2025, issue of Billboard.
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