Maisie Peters is a beacon on the latest ARIA Albums Chart as Florescence debuts at No. 1, while Olivia Rodrigo bags her fifth leader on the national singles tally.

Florescence (via Atlantic/Warner) is the first leader for Peters, eclipsing the No. 4 peak for her 2023 collection The Good Witch.

The U.K. singer has put in all the hard work for her chart glory. Ahead of her third album release, Peters embarked on a theater tour of Australia which included a “magical” duet at Forum Melbourne with Ed Sheeran, when the pair sang “Castle On The Hill.” The last time the pair shared a stage in these parts was when Peters opened for Sheeran in 2023, for the domestic stadium leg of his record-breaking – = ÷ x Tour (pronounced “The Mathematics Tour”). 

Also new to the ARIA Chart, published Friday, May 25, is Hands Like Houses’ sixth studio album, Lotus (Orchard). It’s new at No. 5. Hailing from the nation’s capital, Canberra, the rockers reached No. 51 in 2023 with Unimagine, No. 7 in 2016 with Dissonants, No. 4 in 2018 with Anon, and last year went to No. 36 with Atmospherics.

Close behind is Adelaide’s Aleksiah with Good Paper (Chugg/MGM), new at No. 7. That’s Aleksiah’s first appearance on the official chart.

Kingswood motors to a fifth top 50 album with Midnight Mavericks (ABC/Orchard). It’s new at No. 23. The Melbourne rock act has impacted the national chart with all their albums, including a No. 6 best for 2014’s Microscopic Wars, No. 10 for 2017’s After Hours, Close To Dawn, No. 14 for 2020’s Juveniles, and No. 15 for 2023’s Home.

Over on the ARIA Singles Chart, Olivia Rodrigo makes it two in a row as “The Cure” (Interscope/Universal) opens it’s account at No. 1. The U.S. pop phenom topped the ARIA Chart in late April with “Drop Dead,” which improves 23-9 on the latest frame. Both singles are housed on her upcoming third studio album, You Seem Pretty Sad For A Girl So In Love, due out June 12.

The Chemical Brothers are all go on the fresh frame, with a little help from the Netflix film Apex. The British electronic duo’s 2015 track “Go” (Virgin/EMI) improves 14-11, following its sync in the Charlize Theron-starring thriller, which was shot in Australia. That’s a new chart high for “Go,” which originally peaked at No. 56 following its release.

Finally, G Flip debuts at No. 48 with “Bed On Fire” (AWAL), for their first entry on the main top 50 singles tally. “Bed On Fire” is housed on G Flip’s third studio album Dream Ride, which peaked at No 4 on the ARIA Chart last year.

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

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

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

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

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

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

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

Major Music Groups

Sony Music Group

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

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

Warner Music Group

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

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

Universal Music Group

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

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

Labels & Distributors

0207 Def Jam

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

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

ADA

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

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

Atlantic Records U.K.

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

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

AWAL U.K.

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

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

Beggars Group

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

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

Capitol Records U.K.

Jo Charrington, President, Capitol Records U.K.

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

Columbia Records U.K.

Dipesh Parmar, President, Columbia Records U.K.

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

Decca Records U.K.

Laura Monks, President, Decca Records U.K.

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

EGA Distro

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

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

EMPIRE

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

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

Epic Records U.K.

Sarah Lockhart, President, Epic Records U.K.

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

Fiction Records

Jim Chancellor, Managing director, Fiction Records

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

Fontana

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

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

Island EMI Label Group

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

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

The Orchard

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

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

[PIAS]

Kenny Gates, Executive chairman, [PIAS]

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

Polydor Label Group

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

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

RCA Records U.K.

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

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

Rubyworks

Niall Muckian, Founder and managing director, Rubyworks

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

Secretly Group

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

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

SoundOn

Nichal Sethi, Managing director SoundOn EMEA, TikTok / SoundOn

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

Universal Music Recordings

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

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

Virgin Music Group

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

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

Warner Records & Parlophone Label Group

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

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

Multisector

Believe/TuneCore

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

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

BMG

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

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

Reservoir/Blue Raincoat Music

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

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

Management

Charli xcx Management

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

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

Coldplay Management

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

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

Day One Music

Nick Shymansky, Founder, Day One Music

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

Extended Play

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

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

Future History

Ryan Richards, CEO and artist manager, Future History Management

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

Gaiety Management

Caroline Downey, Artist manager, Gaiety Management

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

Grumpy Old Management

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

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

Maverick

Scott Rodger, Manager (Paul McCartney), Maverick

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

Oasis Management 

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

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

Phantom Music Management

Rod Smallwood, CEO, Phantom Music Management 

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

Radical Management 

Dukagjin Lipa, Managing director, Radical22 Management

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

Rocket Entertainment

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

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

Yo&Co Management

Emily Braham, Managing director, Yo&Co Management

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

Publishing

Concord Music Publishing

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

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

Kobalt Music 

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

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

Sony Music Publishing

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

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

Universal Music Publishing

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

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

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

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

Warner Chappell Publishing

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

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

Streaming

Amazon Music U.K.

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

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

Apple Music

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

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

Spotify

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

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

YouTube

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

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

Live

AEG

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

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

DF Concerts

Geoff Ellis, CEO, DF Concerts

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

Festival Republic

Melvin Benn, Managing director, Festival Republic

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

Live Nation

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

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

Marshall Arts

Barrie Marshall, Chairman and managing director, Marshall Arts

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

Oak View Group

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

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

SJM Concerts

Simon Moran, CEO, SJM Concerts

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

Agencies

CAA

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

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

Primary Talent International

Matt Bates, CEO and managing partner, Primary Talent International

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

Solo Music Agency

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

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

THE·TEAM

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

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

UTA

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

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

WME

Josh Javor, Partner and head of London music, WME

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

Rights Organizations

PPL

Peter Leathem OBE, CEO, PPL

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

PRS For Music

Andrea Czapary Martin, CEO, PRS For Music

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

Associations

Association of Independent Music (AIM)

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

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

Black Lives in Music

Dr. Charisse Beaumont, CEO, Black Lives in Music

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

BPI

Dr. Jo Twist, CEO, BPI

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

The Ivors Academy

Roberto Neri, CEO, The Ivors Academy

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

LIVE

Jon Collins, CEO, LIVE & LIVE Trust

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

Merlin

Charlie Lexton, CEO, Merlin

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

Music Managers Forum

Annabella Coldrick, CEO, Music Managers Forum

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

Music Venue Trust

Mark Davyd, CEO, Music Venue Trust

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

U.K. Music

Tom Kiehl, CEO, U.K. Music

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

When Zane Lowe speaks into the mic, his audience outnumbers the population of his homeland.

Lowe hails from New Zealand, a 5 million-strong nation with a rugby obsession and a seriously healthy music scene. Like many of his countrymen and women, this Kiwi is well travelled. Now based in Los Angeles, Lowe has served as Apple Music’s global creative director and lead anchor of Apple Music 1 since 2015.

Prior to joining Apple in the United States — the world’s biggest company by market cap — he called London home, with stints at BBC Radio 1, XFM and presenting “Gonzo” on MTV 2.

Apple doesn’t publicly release real-time or exact daily listener numbers for Apple Music 1. The platform does, however, boast over 112 million paid subscribers globally, and the station, is known to be one of the largest continuous radio broadcast networks in the world.

With that, Lowe is a flag bearer for NZ. In the worlds of music and broadcasting, his is the most recognizable Kiwi accent on earth, and his guests are the biggest artists in the business. None of it is a fluke. The likes of Paul McCartney, Dave Grohl, RAYE and countless others have experienced Lowe’s relaxed but well-researched interview technique.

He’s the Rock Star Whisperer.

Lowe recently visited Australia, where he participated in an exclusive on-stage conversation last Sunday, May 24, with triple j Mornings host Lucy Smith at Sydney’s City Recital Hall, part of Vivid Minds’ Creative Trailblazers series. His tips for a life in music and media? “Never expect the talent to be happy to be there,” he told Smith. Also, “nerd the f*** out,” “really care,” and most importantly, “listen to the music.”

Billboard.com also caught up with the broadcaster, talent-spotter and artist, for a glimpse at a career that has taken him from the Land of the Long White Cloud to the one of the biggest gigs in music.   

Billboard: Do you remember when the door opened up for you?

Zane Lowe: Yeah, very clearly. I was at working at Max TV in Auckland, and, you know, we were doing shows and having a great time making this free-to-air music channel. It was really fun. I was beginning to wonder what else there is. Is there something else I could keep doing for a long time, you know? And I got this email from a guy called Brent Hansen. An email was so new back then. It was the strangest; the way he said it was like, “saw your tape. Love, dad?” We’re good friends now. To this day I don’t know why he finished his emails “dad,” which I thought was really endearing and really cool. But it probably was an acronym for all I f—ing know. It was just funny. And I just remember thinking, “what tape, how, who? What?” It was just so short and open-ended.  

That was the moment, the first time I felt that feeling of, like, the unknown and what was possible really grabbed me. Dude, this could be a life-changing moment if you let it and focus and nurture it.

Subconsciously, I think that’s where I was like, you can do it.

[Hansen went on to serve as president of MTV Europe.]

Who are the top Aussie and Kiwi bands lighting you up at the moment?

Ninajirachi. Australian is really exciting right now. I feel like for every single style of music or whatever you want to call it these days, there’s somebody who’s got a place in that room really effectively. Nina’s crushing in the dance space, I love what Genesis Owusu is doing. I love the whole coming out and taking a look at the wider world and taking his approach at it.

I love Way Dynamic. It’s a very uniquely tasteful Australian experience to me in the sense that the sound design is so impeccable. It’s got that Kevin Parker attention to detail, like it’s got to sound so authentic and rich and warm before you even get drawn into the songs, which are beautiful.

Kiwis wise, I love Mokomokai. I love what Manu and those boys are doing on a rap level. I really like the Beths, Vera Ellen, and that kind of Flying Nun-inspired, in some cases affiliated, sound. And Office Dog, a very cool kind of indie that feels familiar to me from when I grew up, but it feels very modern and very great. And I love, obviously, the Payments.

These bands mean a lot to me. I love that feeling of very tasteful looseness. So I’m really into that.

We’re really good at pop, man. We’re really good at really weird pop. I mean, there’s before-Lorde and after-Lorde. There’s pop music before Ella (Yelich-O’Connor), and pop music after Ella and Joel (Little). Since then, Benee and the Ratbags (have emerged).

We do pop music in a really unique way. It’s weird. We do good weird pop. I just went to Split Enz. They are our No. 1 pop band of all time, and they are the weirdest f—ing pop band of all time. You can’t tell me “Six Months in a Leaky Boat” is not one of the weirdest pop hits of all time. Or “Dirty Creatures,” it’s just so weird and spooky and odd. We tried growing up during a time when that’s all over the radio. You’re just instantly in Weirdland. You feel like you’re in another planet.

We do we do. I think we lean into our isolation in that regard in a cool way, and we use the space that we have away from the rest of the world and away from trends and whatnot. And we use that space wisely. We push into areas that are really weird. We just always have.

What is your tip to fellow Antipodeans who might want to follow in your path?

If there’s inspiration in that, then that’s beautiful. Grab that. My life is really only designed from the vapors of inspiration that I’ve been lucky enough to inhale? I just hyperfocus on what moves you on what is like the No. 1 thing. There’s been on my mind a lot recently. Philosophy reasons, generational reasons, my mom, and also our kids, a lot of swirling change and the order of things, right? And it’s made me really think about, like, at this point in my life, where did it start and how am I here? And in a really nice way.

And I boiled it down to something that’s like a pin prick, the smallest little dot of something that is yours. It moves you, it speaks to you more than anything else. That is the closest thing to the beginning of purpose that you can think of. And the only thing I know that works in life, and this just is, for me, to create as much space and grace to expand on that as you can, to make that dot as big as you can. That’s it.

And how does that speak to your work ethic? Do you feel that you’re a workaholic?

Yeah, well, I was a workaholic. I’m not a workaholic anymore. I try to work smart, smarter, than harder, but I work hard, you know.

But if you enjoy it and you’re not wasting time by only working hard, then it doesn’t feel like hard work.

If I’m tired or I’m over-travelling or I’ve got too many things going on in my brain, I recognize it’s a byproduct of loving what I do, not a byproduct of doing something I don’t want to do, or wasting time.

I’m also really conscious of time because, again, I’m in that really interesting transition of the changing of the guard. With my parents getting older and now in the final phases of their life, and watching our kids kind of starting to really go on their journey in earnest. Realizing the importance of acknowledging and appreciating time in a different way. And I don’t really want to be beholden to it anymore the way I used to be. But also I don’t pretend to try to control it either. So I just I’m trying to make the most of it.

You’ve made some cracking records with Breaks Co-Op and Urban Disturbance. Is there any more of that to come?

Yeah. I’ve actually made an album, man. We’ll announce it soon, my first album in 10 years. It’s not a Breaks record. It’s a me record. I won’t go into describing it too much because, in this particular case, even though I do that for a living, I think I’d better let the music speak for itself. But I’m really proud of it. I will say this just to offset any assertions that maybe I’ve decided to create kind of, you know, a big collaborative montage of relationships in music.

It’s just me. There are no guests and no one else on it at this point, on this particular album. And I’m really excited to share it. And it definitely is the best thing I’ve ever been a part of, so I’m really proud of.

I get energized creating. So, for me, I actually find that if I’ve got a few hours at the end of the night, or into the night, or in the weekend or whatever, to be able to create some music or create some space to create, that is doing the opposite of expelling energy. It’s like when you’re driving an electric car and you pump the brakes and it adds more to the battery. That is what making music is for me. It’s actually adding battery life. It may take time, but it puts all the right energy in the bank for me when I’m making music. It’s a very happy place.

Vivid Minds’ Creative Trailblazers is part of the broader Vivid Sydney festival, which runs through June 13, and is owned, managed and produced by the New South Wales government, Destination NSW and Feel New Sydney.

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

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

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

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

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

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

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

Billboard’s Friday Music Guide serves as a handy guide to New Music Friday’s most essential releases each week — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

Last week, we featured Gracie Abrams, Drake and Maluma.

This week: Ariana Grande releases the lead single from her anticipated upcoming album petal; aespa drops LEMONADE – The 2nd Album; and Labrinth delivers a cosmically-timed new project… plus much more. Check out all of this week’s picks below:

Ariana Grande, “hate that i made you love me”

Ariana loves a good bit — and she does them well. For longtime fans, her ongoing “maybe I will, maybe I won’t” approach to making more music has kept us on our toes; but thankfully, it never lasts too long, and petal is the latest proof. Despite Grande previously describing the album as “a little feral” in a video she shared on Instagram, lead single “hate that i made you love me” doesn’t sound that way at all. With plinking production that evokes a video game bubbling under water, the savagery is in the songwriting. “I’ve held your projections when you’ve felt so insecure/ Tell me why is it this way/ Why you so hate to see women endure/ Is it really my fault?” questions Ari, showing off her range with quiet confidence. And sure, one could argue “made you love me” is about a romantic partner — but dig deeper and it becomes about anyone who has ever loved (or hated) Ari enough to a point of detriment. And too often, it’s hers.

aespa, LEMONADE – The 2nd Album

Just one month ago, K-pop four piece aespa announced its second studio album, LEMONADE — the group’s first full-length in two years — that arrives today. With features such as G-DRAGON, Ty Dolla $ign and Becky G (who guests on the hyperpop title track), LEMONADE takes aespa to the next level — and right on time. As aespa prepares for its world tour, which extends through 2027, its clear that their high-powered production isn’t the only thing moving full steam ahead.

Jungle, “The Wave”

Like clockwork, at the first whiff of warm summer air and first sight of a delayed sunset, Jungle are right back at it. With a new album fittingly titled SUNSHINE on its way (out Aug. 14), the alternative dance act has shared the first taste with “The Wave.” The groovy, feel-good track delivers on all of Jungle’s best qualities, and sets the bar for more — and much-needed — good vibes ahead.

Labrinth, “THE LIVING”

As Euphoria’s current third season nears its finale on Sunday (May 31) — a season that has notably aired without composer Labrinth’s music after he pulled it from the series citing alleged mistreatment — the artist is filling that void with the release his Cosmic Opera Act II. Standout track “THE LIVING” opens with a bluesy guitar riff that become the song’s backbone as Labrinth tinkers around across intricate layers of sound, as he does. The result is a captivating, full-bodied track that, to no one’s surprise, would sound right at home soundtracking a show or film.

Violet Grohl, Be Sweet To Me

Sure, the last name may be familiar but the sound is entirely her own. With Violet Grohl’s debut album, the budding rocker makes a name for herself as a skilled vocalist, songwriter and producer. And the result is a knockout album that doesn’t let up across its 11 endearing tracks. On Be Sweet To Me Violet not only shows off what she’s capable of, but quickly cements her status as a torchbearer for rock’s current class.

Soft, loud, soft. Mogwai’s irrepressible wall of sound has been wailing out of amplifiers for three decades, unbowed, undented by fluctuations in pop culture. Undefeated. The Scottish post-rockers are a sonic force of nature, a swirling hurricane of guitars. Sometimes heavy, sometimes not. Soft, loud, soft.

Formed in Glasgow back in 1995, the four-piece stopped by the Sydney Opera House last weekend for the ultimate 30^th birthday bash (well, 31 now, but who’s counting).

From the very start, Mogwai has been independent. DIY, even. “Once in a while” the major music companies would come knocking, frontman Stuart Braithwaite tells Billboard backstage ahead of the concert, a production for Vivid LIVE. “Yeah, well,” he points out, “we are completely indie, you know.”

Mogwai owns, operates and releases its music through the Glasgow-based Rock Action Records. That label, like the band, was established in the mid-1990s and remains fiercely independent. Today, it’s home to a diverse roster of artists, including Arab Strap, The Twilight Sad, Kathryn Joseph, Cloth, Sacred Paws, Errors and Remember Remember. For North America, their music is released through the Brooklyn-based independent label Temporary Residence.

The band flexed those indie muscles with a show Saturday, May 23, at the Concert Hall within the iconic SOH. Mogwai is mostly instrumental, mostly guitars. With a setlist featuring “Yes! I Am a Long Way From Home,” “Ritchie Sacramento,” “Auto Rock” and the blistering encore “Mogwai Fear Satan,” and playing against a backdrop of an all-purpose ridge, Mogwai reels the house in, fixes them in a trance.

On this occasion, Braithwaite is the only bandmate who chats with the audience. His banter rarely rises above a “thank-you so much. Cheers.” Mogwai let their respective instruments do the talking. On stage left, a Palestine flag tacked to a Marshall stack. A “soft loud soft” political statement.

Before the sonic chaos and subtlety, Braithwaite reflects on his career highlights. And of lessons learned. He’s reminded of the late Lou Reed, who in 2010, staged “Music for Dogs” on the steps of the Sydney Opera House. “That’s quite a painful memory for me because he actually asked us to come and play with them,” he recounts. “We didn’t do it, and then he died. To be honest, it was a teaching moment, as they say. Because I think anytime we get opportunities like that, we always really take them because you don’t want to miss out. Especially with older (artists) because you don’t know how long they’re going to be around.”

Braithwaite’s tracksuit has touches of green, a nod to his beloved Glasgow Celtic soccer club, which, some hours later, would complete the “double” by winning the Scottish Cup against Dunfermline Athletic, by a scoreline of 3-1. Mogwai had a massive win, too, during the pandemic. The band scored their first No. 1 on the Official U.K. Albums Chart in Feb. 2021 with As The Love Continues, their tenth studio LP.

“Yeah, that was crazy,” he remembers. “When I got the first chart through, I thought it was like the Scottish chart or the vinyl chart or something. Someone was like, ‘no, that’s the real chart. I was like ‘wow.’”

All up, they’ve collected 11 appearances on the U.K. top 40 albums chart, including four top 10s, most recently with 2025’s The Bad Fire, which peaked at No. 5. But a No. 1? “That was really cool. It wasn’t even a dream come true because I don’t think any of us had dreamed about it. It was just this insane thing to happen.”

There are no immediate plans to release a 12^th studio album, not this year. Or cut a soundtrack. “I’ve also got nothing to do next year, so yeah, I need to think of something,” he quips. For the months ahead, Braithwaite and his bandmates (bassist Dominic Aitchison, drummer Martin Bulloch, and multi-instrumentalist Barry Burns) are soaking up their extended birthday party, which includes festival spots across the United Kingdom, Europe and Japan’s Fuji Rock.

“That’s one thing about the anniversary is (we’re) just really grateful that people are still coming to see us and want to hear our music. And yeah, it’s pretty insane after a really long time,” Braithwaite continues. “And to get younger generations (to come along) as well. People that maybe, definitely, weren’t even born when we started the band. Anyone under the age of 30, yeah, they weren’t born when we started.”

Vivid LIVE is the annual contemporary music centerpiece of the Sydney Opera House, and part of the broader Vivid Sydney festival, which runs through June 13. Vivid Sydney is owned, managed and produced by the New South Wales government, Destination NSW and Feel New Sydney.