It’s time to take stock at the end of one of the busiest years the music business has seen in recent memory. Our special end of year review looks back on it all with an epic collection of reflections from some of the biggest names in the industry. Read on for part 5 of our massive look back, including insight from David Gray, Michael Adex, Jen Ivory, Peter Loraine & more...
DAVID GRAY
Managing director, UK and head of global A&R, Universal Music Publishing Group
When UMPG signed Sabrina Carpenter you described her as “a next generation artist”. What did you mean by that, specifically?
“By next generation artist, we meant that Sabrina would be in the next generation of career artists… Artists for whom this success is just the beginning. She has the artistic vision and writing talent to have real longevity.”
Who was your favourite new songwriter of 2024 and why?
“Producer/writer Lucy Healey. She worked on most of the recent Finneas album and on Lisa’s Rockstar single.”
What was your track of 2024?
“Sabrina Carpenter’s Coincidence. I know it’s not a single and I do love the singles, but that song is brilliant as it has a happy, handclapping, tambourine-shaking, up-tempo, guitar-strumming track combined with quite a different tone in the lyrics. And it is a great moment in the live show. And our writer Julia Michaels co-wrote it!”
And your favourite album?
“Sabrina Carpenter – Short N’ Sweet. As the expression goes, all killer, no filler.”
CHARLEY SNOOK
Managing director, EGA Distro
Congratulations again on winning the Entrepreneur honour at the Women In Music Awards. Do you have any thoughts on how the industry should be empowering young talent?
“Any successful entrepreneur has become successful because somewhere along their journey, someone gave them a chance or an opportunity. More major music companies believing in young entrepreneurs would be great.”
What was the biggest obstacle you had to overcome in your role at EGA?
“I wouldn’t say this was a problem, but more of a challenge: learning how to manage a team of people for the first time and creating my own HR department. The way to solve this was to do research and gain knowledge from other executives in the industry who had done it before. Having role models and mentors is really important.”
What was your track of 2024?
“Cuban Links by Skrapz, Nines and D-Block Europe. The song is incredible and it has three artists from our roster on it. Triple win!”
And your favourite album?
“Marnz Malone – Tina’s Boy. Marnz created a timeless record that I can listen to over and over. He’s an artist I’m really excited about.”
ALED HAYDN JONES
Head of BBC Radio 1
BBC Radio 1 won the Radio Station category at the Music Week Awards this year – what have you been doing since May to ensure that you defend your crown?
“We’ve launched two new initiatives: Radio 1’s New Music Live, a night of new music broadcast live from an independent music venue – this time in Halifax. Plus, we did an expanded Brit List, giving artists on-air support from Jack Saunders as well as access to a suite of BBC partnerships such as the World Service and BBC Introducing. We also launched the Radio 1 Anthems stream on BBC Sounds to provide nostalgia for young audiences, plus new shows on the Radio 1 Dance stream to provide more content for more audiences from the world-renowned dance scene.”
After your win you told us you weren’t worried about AI. Are you really not concerned about how the technology could threaten what R1 does?
“No. There is, and will increasingly be, huge value given to authentic, human curation and work – even if it’s aided by AI tools. We will never compromise on human creative control, supporting rights holders and our editorial standard.”
What was your track of 2024?
“Stargazing by Myles Smith.”
And your favourite album?
“Charli XCX – Brat. It’s been a joy to see Charli climb the heights since Radio 1 started playing her music 12 years ago.”
NUR OZDAMAR
Head of artist & label development EMEA, YouTube
Several emerging acts YouTube supported enjoyed success in 2024. How do you feel about breaking talent in 2024?
“It’s thrilling to see so many diverse artists making waves and using platforms like YouTube to connect directly with fans. Take Pa Salieu, who elevates his Live Sessions with incredible vibrancy. His performances are not your typical live videos, but captivating visual experiences.”
How can YouTube help break acts in ways no one else can?
“YouTube is unique in how it breaks new artists: imagine behind-the-scenes clips, live sessions, interactive experiences and direct connection with fans all in one place. This 360° approach turns casual listeners into die-hard fans.”
What was your track of 2024?
“Ezhel – Kadehimi Bo? B?rakma.”
And your favourite album?
“Can I pick two? MK.Gee – Two Star & The Dream Police, and Nemahsis – Verbathim. Two artists and projects I’m in awe of.”
GEORGE ERGATOUDIS
Head of Apple Music, UK & Ireland
How did Apple Music stand out this year?
“We doubled down on dance and electronic music with an unparalleled collection of exclusive DJ mixes recorded in Spatial Audio. We have exclusive deals with Fabric, Ushuaïa and Hï in Ibiza and this year we launched our partnership with the Warehouse Project in Manchester. On the product side, we launched our New tab to ensure users get a premium personalised experience that is firmly underpinned by human editorial curation. And we launched Music Haptics, a new accessibility feature that enables users who are deaf or hard of hearing to experience music on iPhone. Another highlight was our exclusive, and extremely timely, deal with Oasis who mixed their classic debut album Definitely Maybe in Spatial Audio alongside their two classic live albums.”
What was your track of 2024?
“Bon Iver’s Speyside.”
And your favourite album?
“Four Tet’s Three. I’m a huge fan of everything Kieran Hebden does.”
SHERYL NWOSU
Chair and co-founder, The Black Music Coalition
What was your number one lesson from the past 12 months?
“That burnout is real and, connected to that, allies who advocate on behalf of the advocates in the DE&I space play a really vital role. Also, opening up membership of the BMC has affirmed that the power of community is important.”
Was there one overriding topic under discussion among the BMC’s membership this year?
“The shifts and restructuring within parts of the industry has been a big topic, especially with the notable loss of positions for Black executives, which we are acutely aware of. It comes back to the same issue: the power of Black execs is only as strong as any investment into their long-term retention. Real commitment to increased diversity and equity has to look not just at numbers, but whether there is any real devolution of power to a more diverse set of industry ‘leaders’. AI has also been a big topic for discussion; I still think the industry at large hasn’t quite made up its mind as to whether it will be a tool for actual progress and, if so, how!”
What was your track of 2024?
“Jordan Adetunji’s Kehlani remix, featuring Kehlani. It sounded so different from anything that came out of the UK this year.”
And your favourite album?
“A no-brainer: Bashy with Being Poor Is Expensive. It encapsulated everything I love about rap.”
SARA LORD
Co-chair, The Cat’s Mother
What issue frustrated you the most in 2024?
“Oh, where to start! Just kidding! Sometimes, it’s hard to look at the big picture without being somewhat disappointed, but the grassroots wins that Cat’s Mother are consistently delivering means that, little by little, we’re seeing true systemic change.”
And what pleased you the most?
“People supporting Cat’s Mother. We entered into an amazing partnership with Amazon Music that’s going to have such an impact. Every week we get more incredible women from the industry signing up to support our beneficiaries. And the love and support for our co-founder Natalie Wade has been phenomenal. It keeps us going.”
What was your track of 2024?
“Beautiful People (Stay High) by The Black Keys, and Ezra Collective’s God Gave Me Feet For Dancing with Yazmin Lacey.”
And your favourite album?
“I can’t stop playing Stevie Wonder’s five mega albums from ’72 to ’77, on repeat…”
BROOKE SALISBURY
SVP, international marketing & digital partnerships, Sony Music UK
Name the best international campaign of 2024 and why?
“It has to be Brat. Everything about the Charli XCX campaign was genius – they even re-branded summer!”
And what is the one lesson the industry should take from the past 12 months?
“It’s a marathon not a sprint. This year’s global ‘breakout’ artists have been signed for five to 10 years. It takes time and patience to achieve brilliant things.”
What was your track of 2024?
“It was such a good year for singles. It has to be Sabrina Carpenter’s Espresso because it’s been stuck in my head since April.”
And your favourite album?
“I’m going to be a total fangirl and go with Brat. Nothing else sounds like this album, and the remixes were super fun.”
RIKI BLEAU
Co-president, Since ’93
How has Since ’93 evolved in 2024?
“Music and sport have been my passions and part of my vision from the start. In 2008, I did my FA agent’s licence, but music took off with early signings Labrinth, Naughty Boy and Emeli Sandé, so I went with the momentum. It wasn’t until 2020 that I decided to go back into sport and started Since ’93 Sport. We have a few clients and in 2024 proudly arrived in football’s Premier League with Ipswich Town captain Sam Morsy, having worked with him through back-to-back promotions from League One to the Holy Grail of the Premier League.”
How would you sum up Cat Burns’ artistic evolution over the time you’ve been working together?
“Cat is a storyteller, and her lyricism is at the heart of everything she does. On her debut album, Early Twenties, Cat – supported by our lead A&R Joe Iddison – explored a range of sounds from the pop-leaning Live More & Love More to the soulful Healing, featuring the legendary India Arie, and the gospel-layered Alone. She has evolved into a fearless artist.”
What was your track of 2024?
“Tems’ Burning. It’s soulful and has effortless depth.”
And your favourite album?
“Bashy – Being Poor Is Expensive. I resonate with this album, it tells the tale of my life: fighting against the odds of inner city life as a Black male, making it, showcasing hope and caution. It’s brilliantly crafted hip-hop.”
MICHAEL ADEX
CEO, NQ
NQ is committed to championing talent from across the UK. How did you show that in 2024?
“We set out the year to keep empowering artists from the North and also build on championing talent we believe in from the South. With the Aystar and Morrisson campaigns I believe we did just that. Morrisson, who is from London, released his long-awaited project British Trap Royalty and Liverpool’s Aystar was able to create a massive buzz with his Kop That Shit record that was synced on the huge Netflix hit The Gentlemen.”
What was Manchester’s best-kept musical secret in 2024?
“Probably Nemzzz. To some, he isn’t a secret but having seen his journey from when he was 14, giving him his first show, to now, millions of streams later, I just want to highlight his growth.”
What was your track of 2024?
“Aystar – KTS, the remix feat. Potter Payper & Skrapz. It was one of the most hectic but fruitful campaigns I have worked on. From getting feature vocals to recreating a helicopter scene out of the Gentlemen series, it was an action-packed week of running around and putting out fires!”
And what was your favourite album?
“Asake – Lungu Boy. Just an incredible piece of art from an incredible artist. His O2 show was amazing, seeing people of all races and backgrounds sing the lyrics shows the magic of music that moves people.”
JEN IVORY
MD, Parlophone
Coldplay enjoyed colossal success with Moon Music this year – how did you harness their fanbase?
“With a band as big and beloved as Coldplay, the aim was to strike the right balance between ensuring core fans had a unique and interesting experience of the campaign, while maintaining awareness amongst the wider public. For the engaged fanbase, we employed tactics such as planting Easter eggs in DSP properties, including adding moons to Spotify Canvas videos. Plus, we ensured our Instagram Broadcast channel was pulling through engaging, unique content, and revisited fan-favourite themes in the campaign. Beyond that, it was about harnessing their wider appeal through tentpole moments: the triumphant headline set at BBC Radio 1’s Big Weekend, an iconic return to Glastonbury’s Pyramid Stage and a big statement with our innovative set of environmentally conscious physical products.”
What was your track of 2024?
“Artemas’ I Like The Way You Kiss Me – ridiculously catchy and cool and works across all genres. The grunge version is amazing. A late mention for Addison Rae’s Aquamarine – I’m pretty obsessed with this and it’s a perfect nod to early 2000s pop. The video is on point, too. An exciting pop star moment for her.”
And your favourite album?
“Fontaines DC’s Romance. It’s exciting to see their evolution sonically and Grian Chatten’s vocals and lyrics cut through. The creative campaign has been progressive and it’s always a pleasure to see a superb alt band high in the charts and gain new fans along the way.”
PETER LORAINE
CEO, Fascination
How do you reflect on winning The Strat at the Music Week Awards now?
“I received hundreds of kind messages from people, and not just friends, but many I didn’t know. The amount of people who shared a story about how a record, video, tour or campaign that I’d worked on had some kind of effect on their lives was amazing. It’s testament to what I said on the night: pop music really matters! In the next 10 years I want to create more moments that are remembered and talked about in 20 years’ time.”
The Girls Aloud reunion tour was one of the biggest stories of 2024. How did you make it such a success?
“Firstly, it’s all about the launch – I always say you can only explode once! We managed to keep it a secret right up until the very last minute, which meant the fanbase went wild. We launched with amazing teasers, adverts and artwork that proved we meant business. And our launch partners were carefully picked – we announced with Vogue and rolled out from there. By on-sale day the demand was off the scale and we were adding shows daily. Every step of the way, we consistently asked ourselves, ‘What would Sarah’s fans, friends and family think?’ We were so determined to do her proud.”
What was your track of the year?
“Sabrina Carpenter – Espresso. The perfect pop song and definitely the song of the summer.”
And your favourite album?
“The Cure – Songs Of A Lost World. It was such a privilege to see them perform tracks from this album at the BBC Radio 2 In Concert event ahead of the release. It’s been a long wait for this album, but it was totally worth it – they’ve been so missed!”
