GMR 2024 State of The Industry 53c7eb914a

C REPO RT
GLOBAL
M USI
IFPI Global Music Report 2024 State of the Industry
“In the midst of all the technological

CONTENTS
advances with the potential to usher in a
new era of growth, it is essential that we
continue to fight for our artists and stand “We’re at a major inflection point in GLOBAL MUSIC MARKET IN NUMBERS 2O23 4
up for the creative and commercial value the music industry once again, with
of music. Our vision of the future is filled the advent of generative AI and the INTRODUCTION 5
with possibilities, and working together rise of short-form platforms bringing
both opportunities and challenges for
as a united community we can make
artists and fans. Our music drives the IFPI GLOBAL ARTIST CHART 2O23 6
those possibilities real—for our artists,
fans and the entire music ecosystem.” development of new technology and
SIR LUCIAN GRAINGE
innovation, shaping cultural moments IFPI GLOBAL SINGLE CHART 2O23 8
Chairman & Chief Executive Officer,
across tech, gaming, TV, film and
Universal Music Group more; whilst demand from fans for
high quality music and content from
IFPI GLOBAL ALBUM CHART 2O23 9
world-class artists is stronger than ever,
and continues to grow in mature and GLOBAL MARKET OVERVIEW 2O23 10
high growth markets. The fight to have
partners recognize music’s true value is FIGURES BY FORMAT 2O23 12
State of the Industry

relentless. With any new advancements,
we will continue to ensure they are
creator-friendly, that artists are always FIGURES BY REGION 2O23 14
put first and that art is protected and
“Music is the world’s most popular,
influential, and evergreen art form - but
given the value it truly deserves.” TODAY’S RECORD COMPANIES: INVESTING TIME, ENERGY & RESOURCES IN MUSIC 16
still undervalued. At the same time, our ROB STRINGER CBE
business is growing larger, faster, and THE ARTIST PARTNERSHIP AND BEYOND 18
Chairman,
Sony Music Group
noisier - so it’s harder for individual
artists to cut through the clutter. In
this environment, our global reach and CASE STUDY: JON BATISTE 26
expertise are critical in helping authentic
talents build long careers and loyal fan POWERING GLOBAL GROWTH 28
bases, while protecting and promoting
the value of music. Together, we’re
pioneering the future, at the intersection
CASE STUDY: FALLY IPUPA 38
of entertainment and technology.”
ROBERT KYNCL
“Record labels – be they independents RECORD COMPANIES DRIVING INNOVATION 40
Chief Executive Officer,
or majors - don’t just offer artists a range
of services, we offer our passion to those
Warner Music Group
artists. We want to make their dreams CASE STUDY: SZA 48
happen – to make music and express
themselves, and to find an audience CREATING AN ENVIRONMENT IN WHICH MUSIC AND CREATORS CAN THRIVE 50
around the world. In a constantly evolving
industry these things do not change.”
PHOTO CREDITS 54
KONRAD VON LÖHNEYSEN
Managing Director,
Embassy of Music
© IFPI 2023
2
All data, copy and images are subject to copyright and may
not be reproduced, transmitted or made available without
IFPI.ORG permission from IFPI. Use of this report, IFPI Global Music
Report (2024 edition) is governed by the Global Music Report
@IFPI_ORG
Terms of Use (gmr.ifpi.org/terms-of-use) and Global Music
DESIGNED BY DATA DESIGN Report Content Usage Rules (gmr.ifpi.org/content-usage). 3
INTRODUCTION
+10.2% THE PARTNERSHIP BETWEEN RECORD
COMPANY AND ARTIST CONTINUES TO
Global revenue
growth
DEFINE AND SHAPE MUSIC IN ALL ITS
23
+11.2% WONDERFUL AND EXTRAORDINARY FORMS.
20
67.3%
Growth in subscription The record executives who have contributed to this report, based all over
streaming revenues the world and performing a diverse range of roles, share two common
traits: a passion for music and a dedication to helping artists find creative
S
and commercial success.

Streaming share of
global revenue This partnership is at the heart of the continued growth of music
MBER
markets worldwide. Record companies are investing US$7.1 billion
annually in A&R and marketing alone, powering artists and their careers
and connecting fans and music communities from all over the world.
At the centre of today’s record company is a powerful drive for
+13.4%
innovation. This takes many forms: from reshaping the artist-label
collaboration, to exploring and embracing new technologies and
platforms, to driving career opportunities for artists who fall outside
the traditional recorded music pathways. It is leading to exciting and
IN NU
Physical revenue diverse projects and incredible experiences for fans.
growth However, even as the music ecosystem grows, develops and rewards
those who create music, it still faces a range of threats, including the
evolving issue of digital piracy and the damaging practice of streaming
fraud.
While artificial intelligence (AI) has already been widely embraced
+9.5%
across the music industry, the emergence of generative AI presents a new,
rapidly developing challenge. Many generative AI developers take music
without authorisation or compensation and build consumer facing
Performance Rights products that compete directly with artists’ work.
ET
revenues To tackle these issues and ensure the ecosystem is sustainable for the
A
long-term, record companies require effective tools and the support of
authorities and the wider music sector.
M
RK
Music, time and again, has proved its enduring power to engage,
enthral and connect us. As record companies work in partnership with
GLOBAL MUSIC
artists to innovate, drive creativity and support and champion music the
world over, we look forward to helping to shape its next chapter and the
incredibly exciting possibilities ahead.
IFPI: Representing the recording industry worldwide
4 Jung Kook photo courtesy of BIGHIT MUSIC 5

IFPI GLOBAL
ARTIST CHART 2023 2 SEVENTEEN 3 STRAY KIDS 4 DRAKE
IFPI’s Global Charts provide
the most complete picture
of artist, album and track
performance worldwide

TOMORROW X
5 THE WEEKND 6 MORGAN WALLEN 7
1
TOGETHER
TA
Y LO
R SWIFT
6 8 NEWJEANS 9 BAD BUNNY 1O LANA DEL REY
Taylor Swift photo by Beth Garrabrant 7
Source: IFPI | The IFPI Global Artist Chart measures consumption across all formats (including streaming formats, digital and physical albums,
and single sales) and all countries in a calendar year. It is weighted based on the relative value of each method of consumption. A more detailed
analysis of IFPI Global Charts is available in the IFPI Global Music Report 2024 Premium Edition.
IFPI GLOBAL SINGLE CHART 2023 IFPI GLOBAL ALBUM CHART 2023
Global subscription Global subscription

streams equivalent streams equivalent
1 6 1 6
FLOWERS LA BEBE FML ISTJ

Miley Cyrus 2.70 bn Yng Lvcas, Peso Pluma 1.45 bn SEVENTEEN NCT DREAM
2 7 2 7

CALM DOWN CRUEL SUMMER 5-STAR SOS
Rema, Selena Gomez 1.89 bn Taylor Swift 1.39 bn Stray Kids SZA
3 8 3 8
KILL BILL LAST NIGHT ONE THING AT A TIME SEVENTEENTH HEAVEN

SZA 1.84 bn Morgan Wallen 1.37 bn Morgan Wallen SEVENTEEN
4 9 4 9
DIE FOR YOU ANTI-HERO MIDNIGHTS ROCK-STAR

The Weeknd, Ariana Grande 1.78 bn Taylor Swift 1.31 bn Taylor Swift Stray Kids
5 1O 5 1O
AS IT WAS SEVEN FEAT. LATTO 1989 (TAYLOR’S VERSION) UTOPIA

Harry Styles 1.46 bn Jung Kook 1.24 bn Taylor Swift Travis Scott
Source: IFPI Source: IFPI

The IFPI Global Single Chart measures digital format singles across a calendar year, including paid subscription streaming, ad-supported streaming, and single-track downloads. The IFPI Global Album Chart takes into account all consumption formats, spanning physical sales, digital downloads, and streaming platforms across a calendar year.
It is weighted based on the relative value of each method of consumption. For the full Top 20 Global Artists, Singles and Albums please see www.ifpi.org.
8 9
THE GROWTH OF THE

Global recorded music industry revenues 1999 - 2023 (US$ billions)
Total Physical Total Streaming Downloads & Other Digital Performance Rights Synchronisation
GLOBAL INDUSTRY 30
CONTINUES
0.6
2.7
0.6
25 0.9
0.5 2.5
0.9
Growing in value by 10.2% - the second 0.6
2.3
IEW 2O23
highest growth rate on record – the global 20 0.7 0.4 1.1
recorded music market was worth US$28.6 0.7- 0.9

0.4
2.2
0.3 0.8
billion in 2023. In the ninth year of consecutive 0.9 0.9 0.4
2.4 1.2
0.1
growth, revenues in 2023 painted a picture of a 1.8 1.1 0.4
2.5
15 0.1 0.3 1.4
truly global and diverse industry as revenues 2.5
1.2
1.2 0.3 0.3 0.3 0.3 0.3
2.2 19.3
0.3 1.6
rose in every region and across almost every 0.2 3.2 1.3 1.3 1.4 1.6
2.1 17.5
1.8 2.5 15.7
recorded music format. 22.2 0.3
3.5 1.7
20.9 21.5 3.0
Strong and widespread engagement with 10 3.6
67%
20.0 0.4 4.0 4.2 12.7
18.4 17.9 4.1 3.8 3.6 10.7
streaming formats continued: streaming 16.7 0.4 8.8
15.1 0.6 6.2
revenues accounted for the majority of 13.0
0.9
1.3 2.6
4.4
1.8
revenue growth and total market share. 5 10.9
9.5
Subscription streaming alone grew by 11.2% 8.1
7.4 6.8
comprising 48.9% of the global market. 6.1 5.3 5.1 4.9 4.6 4.1 3.9 4.3 4.5 5.1
3.7
I
Growth was not limited to streaming: there
NG
M
was a strong double-digit percentage increase

0
EA
1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023
in physical revenues (up by 13.4%) and healthy
ERV TOTAL STR

gains in income from performance rights (up
by 9.5%). 22.2 20.9 22.0 20.6 19.1 19.1 18.6 18.0 16.8 15.5 14.5 13.7 13.6 13.6 13.5 13.0 13.5 14.7 15.8 17.4 18.8 20.1 23.8 26.0 28.6
Each of the markets in the global top 10
recorded year-on-year growth. The fastest
T
rates of revenue growth came from China,
Global recorded music revenues by segment 2023
OV
E
where revenues rose by 25.9%, maintaining
K
the country’s place in the top five; Brazil (up
R
by 13.4%); and Canada (revenues increased
Synchronisation
A
by 12.2%).
2.2%
Ad-sup
p or
GLOBAL M
ted
str
ea
m
s
Top 10 music markets 2023
18
Performance
.5%
1 USA rights
9.5%
Subs
2 JAPAN
si c market gr
ow
mu
cription audio s
t 3 UK
d aming reven
tre
10.2% 10.4%
ls ue Physical
h
de
6 7. 3 %
al
17.8%
G lo b al re c or
4 GERMANY
s
er
G r o w t h i n ov
5 CHINA
trea
6 FRANCE
ms
Downloads and
48
o n acco
r ip ti
7 SOUTH KOREA other digital
.9
sc u
%
3.2%
nt
ub s
I
8 CANADA
667m
s
NG
id
M
U s e rs of p a
EA
9 BRAZIL
10 Shakira photo by Jaume De Laiguana

10 AUSTRALIA
TOTAL STR 11
3
Streaming continued its domination
2O 2
of global revenues again in 2023 but
AT
all music formats recorded increased
revenues with the exception of
M
downloads and other digital.
R
Subscription streaming, performance
O
rights, and physical formats like CDs
and vinyl all experienced faster growth
in 2023 than in 2022. Revenues from
physical jumped by 13.4%, the highest
growth rate of any format in 2023.
F
BY
STREAMING
+10.4%
A double-digit percentage increase in global revenues from
FIGURES
streaming in 2023 (up 10.4% to US$19.3 billion) was the key

driver of overall global growth. Streaming accounted for more
than two-thirds (67.3%) of the total global market. Although
this was a modest decline on the prior year’s growth rate of
11.4%, within this subscription revenues growth accelerated
to 11.2% for 2023 (up from 10.1% in 2022).
PHYSICAL
For a third consecutive year, physical revenues rose with an
+13.4%
upswing of 13.4% in 2023, a marked increase on the prior year’s
growth of 3.8%. Driven by strong gains in CD revenue and

the continued expansion of interest of vinyl, physical formats
were worth US$5.1 billion in 2023 and accounted for 17.8% of
the total global market, up from 17.3% in 2022. Asia remained
the leading region for physical, responsible for almost half
(49.2%) of global revenues from the format, helped by strong
sales from K-Pop acts.
PERFORMANCE RIGHTS
+9.5% Revenues from performance rights – the use of recorded

music by broadcasters and public venues – maintained
healthy growth in 2023 and increased by 9.5%, having
already surpassed pre-pandemic levels of revenue in 2022.
Performance rights revenues of US$2.7 billion were 9.5% of
the global market.
DOWNLOADS AND OTHER DIGITAL
-2.6% The only format to experience a decline in 2023, revenues

from downloads and other (non-streaming) digital formats
fell by 2.6%, a notably slower rate of decline than the prior
year (-11.8% in 2022). Overall, this format accounted for just
3.2% of global recorded music revenues in 2023, as streaming
formats dominate the digital market.
SYNCHRONISATION
+4.7%
At US$632 million in 2023, synchronisation revenues
experienced continued growth in 2023 (+4.7%), albeit at a
slower rate than 2022 (+23.9%). This format encompasses
12 revenues from the use of recorded music in advertising, film,

games and TV and represented just 2.2% of overall recorded
music revenues. SEVENTEEN photo courtesy of PLEDIS Entertainment 13
2 3
There was a positive story of
2 O
growth across the globe: every
ON
region had healthy revenue growth
I
in 2023 and five regions posted
G
double-digit percentage gains.
RE
Sub-Saharan Africa remained the
fastest growing area.
EUROPE
Representing more than a quarter of global
revenues (28.1% share) after revenue growth
of 8.9%, Europe remained the second
largest region in the world for recorded
music revenues in 2023 and exceeded US$8
billion. The three biggest markets – all
BY
of which were in the top ten – recorded
healthy growth: the UK (+8.1%), Germany
(+7.0%), and France (+4.4%). ASIA
FIGURES
The third largest market globally,

revenues in Asia rose by 14.9% in 2023,
MENA driven by strong gains in physical
Streaming revenues dominated once and digital revenues, and continuing
more in the Middle East and North a multi-year upward trajectory. The
Africa (MENA) with a 98.4% share of two largest Asian markets saw healthy
the market in that region. Total MENA growth: revenues from Japan, the
revenues rose by 14.4% in 2023 – albeit world’s second biggest market, were
a lower rate of increase than the up by 7.6% and there was steep
26.8% jump in 2022 – but exceeding growth in China (the fifth largest
+8.9%
the global growth rate. market) of 25.9%, the fastest rate of
increase in any top 10 market.

+7.4%
+14.4% +14.9%
USA & CANADA
Responsible for the greatest share of global
recorded music revenues, there was a gain of
7.4% in 2023 in the USA and Canada. Revenues
grew at a faster rate than in 2022 (+5.1%).
Revenues from the USA, the world’s single
largest recorded music market, rose by 7.2%.
In Canada, another top 10 market, revenues
jumped by 12.2%. Combined, the two markets
+24.7%
had a 40.9% share of overall recorded music
revenues.
LATIN AMERICA
In the fourteenth consecutive year
of revenue growth, recorded music
revenues in Latin America rose steeply in
+19.4% +10.8%
2023 and were up by 19.4%, once again
outpacing the global growth rate. There
were double-digit percentage climbs in SUB SAHARAN AFRICA AUSTRALASIA
revenues in Brazil (+13.4%) and Mexico Sub-Saharan Africa once again had the Australasia posted double-digit
(+18.2%), the region’s largest markets. fastest growth of any region and was the percentage growth of 10.8% in
Streaming was the key driver and made only one to surpass 20% growth: revenues 2023, an increase on the 8.3% rise
up 86.3% of the region’s revenues. climbed by 24.7%, fuelled by gains in paid in 2022 and boosted by an increase
streaming revenues (+24.5%). South Africa in subscription streaming revenues
remained the largest market in the region, (+13.5%). Revenue growth accelerated
14 contributing 77.0% of regional revenues

after growth of 19.9%.
in Australia, a global top 10 market,
up by 11.3% (+8.2% in 2022). In New
Zealand, revenues increased by 8.4%. 15
RECORD COMPANIES ARE THE LEADING INVESTORS IN MUSIC
MUSIC
TODAY’S RECORD
This breaks down to:
US$ 7.1bn US$3.2bn US$3.9bn

COMPANIES
ES IN
Annual investment in Invested in marketing Invested in
A&R and marketing artists annually A&R annually
URC
ARTISTS ARE INCREASINGLY BENEFITTING FROM THE GROWING MUSIC ECOSYSTEM
INV
TI E
Between 2016 and 2021:
NG R
SO
ES
TI M E, E R G Y &
Labels’ payments to artists have increased by
EN
Artists’ share of revenue
grew by 20.2% to reach
+96%
34.9% vs. a

The role of record companies
in empowering artists and
supporting the growth of the
ARTISTS BENEFIT FROM A RECORD LABEL of global sales revenue in 2021 +63%
increase in revenues for IFPI’s
wider music industry has never PARTNERSHIP IN A WIDE VARIETY OF WAYS largest member companies
been more important than it is
in today’s highly competitive,
global landscape.
When artists choose to partner
with a record company they benefit
from the support of agile, highly
responsive global teams of experts CREATIVE MARKETING ARTIST BRAND
UPFRONT A&R Influencer campaigns
dedicated to helping them achieve BUSINESS AFFAIRS DEVELOPMENT SERVICES Digital OPPORTUNITIES
creative and commercial success INVESTMENT Licensing DEVELOPMENT Photoshoots (social media, ads) Sync opportunities
agreements Physical
and building their long-term careers. Advance Session organisation Styling
(posters, billboards)
Brand partnerships
payment Content Song writing
Record labels are the driving force Financial protection development
Video creation
Audience analysis
Merchandise
Social media New technologies
behind artists as they realise their transparency
development
CRM development (gaming, web3)
vision, providing a broad network of
experienced professionals that help
them to cut through and connect with
fans in the most compelling ways. ARTIST PARTNERSHIP CREATIVE DEVELOPMENT COMMERCIAL SUCCESS
Alongside the integral creative
and commercial support they provide
to their artist partners, record labels
continue to play a crucial role as the
GLOBAL GLOBAL PROMOTION
leading investors in music. ARTIST WELFARE RECORDING TV
PROGRAMME INTER-CONNECTIVITY Studio access DISTRIBUTION Radio
Portal access Cross-cultural Production Licensed DSPs In-store
collaborations Mixing Merchandise performances
Real time access
Audience analysis Mastering CDs and vinyl Podcasts
Legal support
Streaming
16 17
Tunji Balogun, Chairman and
H I P AN
CEO, Def Jam Recordings, believes
RS D B
this partnership begins with a shared
N E E
connection between artist and label:
T Y O
“Artists should be walking into a label
R N
feeling like, ‘Okay, these people get me’. I
A
think all artists want to feel understood.
P
They want to feel heard, and they want to
feel like they’re putting their work in the
hands of people that understand and care
deeply.”
For Balogun, building the right team
D
around the artist is crucial: “When that
IST
trust level is really high then both the

artist and the label team are going to work
harder, do more and go further because
BJTCK photo by Micaiah Carter
TH E A R T
they’re going to feel that synergy. That’s the

goal. The team that works with the artist is
so important because those are the people Timothy Xu, Chairman and CEO, Universal Music, Greater
who have to go out to tell these stories and China feels that “a key factor to artist partnerships in a fast-growing
fight for them.” market like China are the services and support a record company
With the right teams assembled, an can provide.
early step in an artist-label partnership “The fact that many artists now have the capabilities to operate
can be support with the development independently is a testimony to today’s constantly evolving and
of the artist and their music. Republic rapidly changing ecosystem. And the reason for this transformation
Records Senior VP, A&R Ken “Duro” are the shifts in the overall larger trends. So when artists are looking
Ifill, explains that this is an evolving to partner with a record company, they have their sights and goals
process: “The fundamentals of A&R have set internationally. They want the support of a mature global service

not changed, but we now apply them in a network provided by an international music group. For me, it is all about
contemporary way. A&R has really evolved constantly enhancing our hardware, and services to meet the artists’
into a team sport: You have individuals needs, providing the best possible support for their development.
that first identify trends, then there’s the “There’s a whole generation of new artists here in China with
person with that innate sense that says, different ambitions from previous artists – they’re increasingly familiar
“This is moving, it’s sustainable, it’s a real with international music and markets and are eager to tap into them.
piece of art.” You then have someone who They need, and what we strive to offer, is professional support and
can really get under the hood and help understanding.
that artist grow and then, finally, another Konrad von Löhneysen, Managing Director of Embassy of
person who can help them move around Music, feels a core role of a label is to give the artist both reassurance
in the space and make larger connections. and space: “We say to artists, ‘we’re here to take you seriously and
It’s always evolving, but at the end of the we will take a lot of things off your shoulders. We want you to have
day, the core is always helping to create the freedom to do what you do best, which is make your music, not
quality music.” be filling out metadata sheets and trying to run ad campaigns and
Empowering great talent Record label investment, in an artist and chase radio stations’. The core point is to really give the artist the
and incredible music their music, is something that happens at

the start of an artist’s career. For Federico
freedom to do what they wanted to do in the first place – create
music. My team has the experience and the expertise to do the
Today, artists have an unprecedented Sacchi, Head of A&R, Sony Music Italy, other stuff.”
this includes record label support and “I think this is what creatives need to hear and for them to say ‘great,
amount of choice in how to create, record commitment to the artist’s creative goals: I’ll get back to the studio and write hits.’”
and share their music with fans. Working “We put them in a position of greater “Our job then is to get the artist’s music to people we think would
with a record label is not a necessity for an freedom than they have known before,
both financially and in terms of the creative
like it. I compare it
sometimes to being like
artist; it is an active choice that some make tools, connections, and promotional a gallery when someone “In a world with so much noise
to collaborate with a label partner and power they have access to. is exhibiting their art. It’s and so much volume, our role as
“We combine that freedom with a not the gallery’s role to the artist’s greatest champion
benefit from its broad network of talented backdrop of advice and experience which say ‘why don’t you paint is more important than ever —
and experienced teams invested in artists’ is there for them to tap into as much as a sunrise and I’ll try and helping them tell their story and
creative and commercial success. possible. We offer different options and
creative ideas, all the time making it clear
sell your painting’. The
job of the gallery is to
curate their vision, while fiercely
protecting their work and their
18
that they are leading the way. Working with bring as many people as brand.”
new artists is a big responsibility and a big possible, and the right Max Lousada
commitment; it’s also one of the best parts people, in front of that CEO, Recorded Music, Warner Music Group
Billie Eilish courtesy of Interscope Geffen A&M of what we do.” person’s art.” 19
BTS photo courtesy of BIGHIT MUSIC

Releasing music:
CUTTING THROUGH THE NOISE

In an era of infinite content, the power plans, individual sales plans, promotion
of the partnership between record
companies and artists to cut through to
“Ultimately, we are plans, content strategies – but it’s all within
an audience and build a fanbase has never

driven to be great a framework that is determined by the
artist and works for where they are at and
been more crucial. partners with artists. where they want to go next.”
Lexa Bippus, Director of Marketing,
Our mission is to support Marie-Anne Robert, Managing
Four Music label in Germany explains their creativity, their Director, Sony Music Entertainment
that helping an artist to find an audience fan engagement, and France, adds: “Audiences are more
for their music requires a combination of a their commercial fragmented than ever before, and our
creative approach to marketing the music, opportunities. To do that marketing strategies reflect this dynamic.
whilst working in a disciplined and targeted Artists need more teams, more voices, a
way: “When artists tell us about their vision,
properly, we need great wider range of experiences, all within the
sometimes they worry that it sounds crazy!
go-to-market plans, one building.
But that’s OK, our job is to work out how to combined with flawless “That’s how we help artists build and
make it happen – and we can do that because execution, to ensure tell their story. Those stories and the ways
we have the expertise and experience in- our artists get the and places they are told are more diverse
house. best chance to connect than ever. There is no single channel to
“At the same time, whilst thinking outside everyone, but that means that tight, overall
the box and being ultra-creative, we are also
with new and existing coordination is crucial.”
built around reliability – and that’s hugely
audiences.”
important for a new artist. We won’t just DENNIS KOOKER
President, Global
20
make it happen, we will make it Digital Business, Sony
work in time and on budget. Music Entertainment
“It’s the same across disciplines.
We build individual marketing Ed Sheeran photo by Annie Leibovitz 21
AN ONGOING A GLOBAL
CONVERSATION REACH
For Stacey Tang, Co-President RCA UK, Sony
Music, a successful campaign starts with a shared Record companies are also able to offer the support of
understanding of clear goals: “We define a shared a global network of teams working in countries with local
vision with artists, identifying what success means understanding and expertise to help an artist connect with
to them, then strategy, targets and tactics evolve to fans worldwide. Celia Carillo, EVP Marketing, Universal
deliver that.” Music Latin America & Iberian Peninsula, explains:
“This becomes even more important when the “Our focus is to help artists grow their careers to
objective is not just to promote music to fans but to reach global audiences. We first do it on a regional level,
support an artist in building a deep and long-lasting where artists such as Feid reach audiences across Latin
relationship with their fanbase across multiple America, the U.S. and Spain and then we work closely
verticals. with the UMG international teams to bring these artists
“We’re dealing in ongoing conversations now to more audiences around the world. Feid was the fourth
when it comes to fan engagement, and so we must most-streamed Latin artist globally in 2023 and has already
be mindful that we’re speaking to people in the right started 2024 with a global top ten single Luna. Feid’s global
way with the right tone and using the right language, success in streaming allows him to reach audiences around

for the fan group and the medium. If we get that right, the world and take his live performances to fans in Latin
artists win because fans want them to succeed and will America, the United States and Europe.”
Piso 21 photo courtesy of Warner Music Mexico
be their biggest cheerleaders.” Tunji Balogun provides a specific example of how this
Pico Cibelli, President, Warner Music Italy, can work: “There’s a Dancehall artist from Jamaica named
also refers to constant conversations with fans. “It’s Masicka, and he is arguably the biggest artist in Dancehall The opportunity to bring like-minded artists together from different streams across their overall catalogue lift
something we build every day and it’s central to right now. We signed him in 2022 and we put out our first genres and parts of the world to support, not just the creation of unique by at least 10%, with half seeing a rise of
preparing an artist for the long-term, not just breaking album with him in December 2023. It’s done really well. music but to expand fanbases is another area global record companies more than 50% and almost a third seeing
a track. It was the first album to replace Bob Marley’s Legend at are exploring: increase of at least 100%. So these cross-
“We have access to data that helps us with that number one on a bunch of charts and it’s been number one “Cross-cultural collaborations have become a great tradition over cultural collaborations are enjoyed by
conversation, but we also bring old-style skills and in Jamaica since it dropped. He’s like the king of his space. the last few years,” says Bello, VP Global fans and have a ripple effect across the
sensibilities to it, based on empathy with the artist and “Now we’re trying to turn it into a global story and A&R, Warner Music. “When artists artists’ entire repertoire.”
the goal of building a career. We build a community for really speak to all the different members of the Caribbean from different genres and regions come Cat Kreidich, President, ADA
an artist not for a song, and we can be the difference diaspora that live around the world, really focusing on together on a track regardless of language
It takes time to create Worldwide, an independent distribution
every day.” the UK, a few different cities in the US, Canada. And we’re it’s evident that cultures and communities
truly great music, it and label services arm of Warner
starting to see the growth. We’re also connecting him with move Music, fans embrace and love it. needs us to challenge Music Group, reflects on the global
African artists and trying to create some synergy between “For me it’s key to have a strong each other as artist opportunities for independent artists:
In the era of infinite content, it becomes Dancehall and Afrobeats because sonically they’re kind of International A&R community network and record company, “The modern music business is truly
hugely important to cut through to fans. like cousins. building bridges, which really helps to give and that’s a dynamic global, and that’s really exciting for
Our role as labels, with our reach and our “We’re doing things like that to build community artists more possibilities to work with other that can only work independent artists. We break artists
expertise, is more important than ever in amongst our artists and to show there’s something very artists or producers from other countries within the context of a who come from anywhere and the start of
helping new artists break. specific happening at this label when it comes to Black and genres, fostering their development true partnership. Then, their breakthrough can ignite anywhere
FRANK BRIEGMANN music. It’s very intentional and very specific.” and expanding their audience globally. when it works, the – you don’t have to have a hit in the US
President & CEO of Central Europe
& Deutsche Grammophon
I think it’s super important to be able to result is longevity and to spark interest in the US, because every
have a team where we can support them
through the journey and really amplify
sustainability.am. territory is looking at what every other
territory is doing. We will pick up on a
SIMON ROBSON
their artistic development. President, success story happening anywhere in the
“It is easy to see why artists love this International, world and translate it everywhere.”
When artists from different genres approach, and the fans seem to respond Warner Music Group
and regions come together on a track too when it’s authentic”, Bello adds, “If
regardless of language it’s evident that we look at more than 40 of the biggest
cultures and communities move music,
22
crossover collaborations over the last 12
and fans embrace and love it. years, we find that six months after the
BELLO collab was released, three-quarters of
VP Global A&R, Warner Music the artists involved saw an increase of 23
working properly and being developed in

tandem with each other.”
Kevin Gore, President, Global
Catalogue for Recorded Music, Warner
Music, says that when it comes to viral
hits, whether from catalogue or frontline,
“a record company’s job is to give them
every chance becoming more than just
moment, but mainly it’s to make sure than
when they do happen, we provide the right
marketing support for them to platform
up and platform up and platform up.”
He goes on to highlight the value
of the more traditional work record
The Weeknd photo by Brian Ziff companies undertake to maximise an
artist’s catalogue. “What I love most is
the immersive storytelling that we do –
creating the box sets, the reissues and the
marketing campaigns that truly shine a
MAXIMISING OPPORTUNITIES
light on incredible artists, their work and
their legacy.
“When a record company is in
partnership with an artist, we’re having
Flexibility is a key part of a record label’s approach. This those conversations all the time. If an
extends beyond the design and delivery of bespoke campaigns, to album is eight years old, let’s start talking
ensuring it has the right people and resources to respond to positive about plans for the tenth anniversary.
developments in a campaign. There is a constant thought process
Adriana Sein, SVP & Global Head of Artist and Market about what we can do for artists not just

Development, ADA Music, stresses the importance of record this year, but next year and beyond that.”
companies reacting almost instantaneously to market opportunities He also makes a point about the wider
across the world – but with nuanced and unique campaigns rather issue of investment in music. “There is a
than off-the-peg solutions. lot of money coming into this sector from
She says: “We have made acquisitions and expanded our teams various funds, and there is plenty of talk
to provide a new level of expertise and opportunity for our artists on about growth and metrics, which is great,
a global scale and at a local level. everybody needs to be across those
“The teams that we have built allow us to deliver exciting stories elements.
directly and immediately to fans anywhere in the world and to react “But if you don’t treat artists and their
really quickly to trends and spikes wherever they occur. work as something unique and special,
We work with artists who are effectively amplified by great marketing that tells
small businesses, who are thinking about the stories, then you lose what the fan
their potential for growth, looking for new connects to, which is the essence of the
markets and are also wanting to control “Artist development value proposition. If you do any of it whilst
their own future. We plan and execute that takes commitment in any way disrespecting the artist, the
vision alongside them – with all the scale
and experience that comes with that.”
and investment from song or the fan, you’ve disintermediated
the thing that holds everything together
Viral moments have become a everyone involved. It and missed the opportunity to re-engage
cornerstone of the modern marketing mix, also takes time.” the existing fan or create an opening for
but as Amy Wheatley, MD, Columbia AMY WHEATLEY discovery by a new fan.”
Records UK, Sony Music points out, it MD, Columbia Records Dahlia Ambach-Caplin, SVP of
shouldn’t be the main imperative. “For a UK, Sony Music A&R and Artist Development, Verve
start, you can’t predict viral moments, so Records, Universal Music Group,
you can’t plan campaigns around them. concludes with an observation on where
We believe in a dual approach: maximise everything starts – artist development:
on virality when and if it occurs, but don’t “A&R has changed considerably, not least
lose focus on long-term artist development through technology and data. But part
for a core fanbase. of it hasn’t changed at all. It’s still about
“Artist development takes commitment finding great artists, it’s still about word
and investment from everyone involved. of mouth, connections, relationships,
24
It also takes time. There isn’t one experience, commitment and investment.
specific thing that breaks an artist, And those are things that are still at the
it’s the sum of all parts, so our role heart of record companies.”
is to make sure all those parts are Stray Kids photo courtesy of 25
Republic Records
Jon
Batiste
A flourishing artist
label partnership
C & Verve Records
Jon Batiste is an American singer, songwriter, multi-instrumentalist, completely focused on getting out there
bandleader, composer, and activist. An acclaimed jazz artist from the and playing this music.”
A
start of his career, Jon gained major national recognition in the United “He’s an elite live performer,” says
States as bandleader of The Late Show with Stephen Colbert on CBS, Ambach-Caplin, “and now he’s finally
on which he led his band Stay Human from 2015 to 2022. But it is on his hitting the road, touring the entire United
S
most recent two albums, released on Verve Records, where the artist States for the next two months. And we are
has reached new artistic heights, with WE ARE and World Music Radio very confident that when people see him,
E
receiving huge acclaim, and seen him start connecting with a global they’ll be forever converted to superfans.”
audience. Jon’s genre-defying music means Krents
Verve Records’ President Jamie Krents and SVP of A&R and feels Verve Records is the perfect label
Artist Development Dahlia Ambach-Caplin talk about the label’s home for him, yet puts him in a position
S
relationship with the Grammy and Oscar winning polymath: where he can benefit from Universal Music
“Jon is a really extraordinary artist, says Ambach-Caplin. “I’d known Group’s (UMG) full suite of services.
T
him from before his bandstand days on ‘The Late Show with Stephen “There are all of these great labels

Colbert.’ He was an amazing musician in New York who used to light up at UMG but Verve fills a different role,
U
venues in a most unusual way for a jazz artist, he was magnetic. Once which is to be the home for people that
signed, he was immediately a priority for us.” are eclectic and dynamic, and might make
D
“I believe he really benefits from being on a label,” says Krents. “The different kinds of records. It’s great for Jon
first seven years of his public career were dominated by him being on to have a home base, which Verve can be,
Y
the Colbert show, so he had tremendous exposure in the US. But the and then we can plug into our sister labels.
downside of that was he couldn’t tour easily, and he especially couldn’t Interscope are our partners and they’ve
tour internationally. His career had therefore been very US-centric. Now, been a completely central part of the team
JON
about 50% of his sales and streams are global. working on the album. Then equally, Jon
“That’s a big point of pride for us, and I think to cut through did a song for a Liam Neeson movie that
T E
internationally, you still need a team, and real boots on the ground. Republic Records produced last year. He’s
B ATI S
You need people in these markets navigating the idiosyncrasies of been able to plug into our branding team
their territory. The aggregate of all that who worked with Coca-Cola to make him
knowledge and effort gives you a global the face of the Coke Studio programme
profile.” “To cut through which has had a massive global marketing
Jon’s two albums on Verve have been
critically lauded – We Are winning five
internationally, you campaign. He’s been equally able to plug
into our sync team, and have his music used
Grammys at the 2022 awards including still need a team, in ads for the Gap, etc.
Album of the Year, and his current World and real boots on “All of these things have benefited him
Music Radio album earning him six more the ground. You and many of them would simply not have
nominations at the 2024 ceremony. Jon is
now able to fully tour on the back of his new
need people in these been possible without the full and diverse
set of people, services and expertise that
album. markets navigating you get with a big record label. “I think
“One of the real breakthroughs of this the idiosyncrasies of that’s a lot of our value to Jon. Jon could
project is that he’s finally been able to their territory. The do a lot of what he does independently,
travel,” Krents says. “On a promotional and
marketing level, we’re getting to bring him
aggregate of all that but the global side of it, and the holistic
side of the various entities working
to do big TV shows in the UK and France. knowledge and effort together at Universal is unique.”
We’re also getting him to appear at a festival gives you a global Ambach-Caplin ends: “From here
in Tokyo with NewJeans, one of the biggest profile.” musically, we are with him wherever he
26
K-Pop acts in the world; we’re just getting JAMIE KRENTS wants to go. We’re there to amplify what
going we feel. There’s no substitute for that President, he wants to do. I think with someone
work, you can’t just do all that on social Verve Records who’s this unique, and this intelligent,
media. You have to show up, and Jon is that’s what you do.” 27
H
The global journey
OW T LATIN AMERICA gathers pace...
G R Latin America continues to stand out

as a region that is celebrating both its own
thriving music culture and its success in
connecting with fans and influencing
L
music the world over.
A
Alejandro Duque, President,
Warner Music Latin America is
B
passionate about the region’s global
O
appeal: “I think maybe other places in

the world were expected to eclipse Latin
L
America by now in terms of growth and

G
excitement, but it just keeps accelerating.

“Latin music has also become such an
important segment of US consumption,
G
which just adds to the story and feeds

back to encourage even more growth
N
across the region. And then you have the

increased diversity of different artists

I
and genres exploding out of individual

R
markets, especially Mexico in this last year

or so; it’s incredibly dynamic.
E
“As that volume grows, one of our

strengths, as a music company, comes
W
into play more than ever before, and that

is to help an artist cut through the clutter
O
and engage with fans in a consistent

and authentic way – be that within Latin
P
America or on the global stage.”
The globally connected nature

of today’s music ecosystem
19.4%
is now well established.
Today, almost anywhere in the world, fans
Danna Paola photo by Heberto Laguna
can enjoy a rich, diverse mix of music; whether
from their very own, very local music cultures, or
Growth in Latin
something that has travelled across the world, Skander Goucha, EVP, E-Commerce, Business Development
American revenues
brought to them by the networks and infrastructure & Digital, Universal Music Latin America & Iberian Peninsula,
18.2%
of interconnected record companies. emphasizes the importance of Latin American fans in driving global
The combination of these growing global success for artists: “Latin American fans are among the most engaged
connections and very diverse local markets means music fans around the world, with Mexico being the number one
the role of record companies is more vital than ever streaming market for many superstar Latin artists, such as Feid and
in helping artists to navigate the path from breaking Morat. Mexico and Brazil are also among the top five streaming
locally to succeeding in an increasingly complex Growth in Mexico markets for many international artists, such as Billie Eilish and The
13.4%
global landscape. Weeknd.
28
He adds: “With Brazil being the biggest market in the region and
having a vibrant and diverse music scene, we expect to see more
music from Brazilian artists, like Anitta and Léo Santana, reach global
CKay photo courtesy of Warner Music South Africa
audiences.” 29
Growth in Brazil
Leila Oliveira, President, Warner

Music Brazil, expands on the growth of
Asia, K-Pop and the

ASIA
the Brazilian market. “Digital consumption
used to be centred on the big cities of Rio
and Sao Pãulo, but now music fans in
regions such as the Northeast are signing
rise of the ‘superfan’
up to digital services. That makes it easier
to monetise the vibrant music scenes in
these parts of the country.
“Urban music is also growing strongly.
It’s a sound that’s based on the identity
and storytelling of the artists who connect
so strongly with their new generation of
fans. We’re also seeing experimentation
with the fusion of rhythms and elements,
bringing this fresh mix to music. There are
more collabs across genres and regions.”
Celia Carrillo, Executive Vice
President, Marketing, Universal Music
Latin America & Iberian Peninsula,
expands on how record labels help artists
achieve success from local to global:
“In 2023 we have broken new records
with Karol G’s album “Mañana sera
bonito” becoming the first album in
Spanish from a female artist to top the
Billboard 200 list in the United States. She
also swept three major Latin Grammys,

including Album of the Year, and was
the first Latin female artist to receive the
Grammy for Best Urban Album.
“The current success of Morat, who
are managed by the Global Talent Agency,
the live and management division of UMG
in the region, is a perfect example of how
to build an always-on strategy while
LE SSERAFIM photo courtesy of Interscope Geffen A&M
growing the artist brand. In a few years,
Morat went from being a developing band
to playing stadiums across Latin American As the third largest region for music, Widening the lens to take in Asia as a whole, he says: “All three big
and Spain.” Asia continues to be characterised by markets - China, Korea and India - have grown as much as or greater than
Afo Verde, Chairman & CEO, Latin its globally recognised culture of pop expected. I think that will continue.”
America, Spain & Portugal, Sony superstars and dedicated music fans. It Factors behind the continued growth identified by Subramaniam
Music, talks about how Latin artists are continues to grow as a market in both include the continued conversion to a paid ecosystem in China where, he
mining and cross-pollinating their own digital and physical music. says, “if you get it right you can pretty much have your paid subscriber base
broad seam of cultures, in tandem with The headline act to this regions story get to levels that you see in developed markets. However, to get that right,
their fans – and about the role record is K-Pop. Shridhar Subramaniam, short-form video in particular must go hand-in-hand with a move towards
companies play within that process. President Corporate Strategy and long-form and paid streaming, as well as a much fairer remuneration for
“There is a growing sense of cultural Market Development Asia & Middle artists and rightsholders.”
pride and revival amongst Latin East, Sony Music Entertainment, links
audiences. Therefore, local genres and the genre’s most recent growth spurt to
artists are gaining popularity as people the growing phenomenon of ‘superfans’.
seek out music that reflects their identity.” “Korea has exploded on the physical
“As part of that, our A&R team works sales side of things, even more than
+14.9% 6 K-POP ARTISTS

very closely with our artists. We equip everyone anticipated. And I think that’s
them with a comprehensive suite of just one outward expression of a larger
tools and services to realize their vision, movement at work within the growth of
whatever that may entail. And when their K-Pop, and that is the rise of the fandom
projects are poised for release, we deploy economy.
30
our local presence and regional “Last year K-Pop’s global impact went
Revenue growth in Asia in IFPI Global Artist Chart Top 20
resources to ensure their music beyond just being about one or two acts
in 2023
reaches a broad audience.” Ludmilla photo courtesy of Warner Music Brazil and is on the cusp of becoming a global
creative centre. 31
A global Gearing up to be a new

CHINA opportunity INDIA music superpower
Simon Robson, President,

International, Warner Music,
discusses the opportunities for
Chinese artists. “We’re working India, of course, is another country
very hard with a number of Chinese with a vast population, healthy
artists that we’ve brought to LA and growth, and massive potential. With
put together with top producers to 450 million Indians under the age of
make English language music. There 30, the continent’s pop culture is on
is some incredible talent there and we the rise and young music fans are
definitely see an opportunity to have increasingly engaging with the next
an impact around the world.” generation of Indian music stars that
Timothy Xu, Chairman & CEO, are breaking out of the Bollywood
Universal Music, Greater China, mould.
+15.3%
explains the evolving strategy of
Guo Ding photo courtesy of Universal Music China
record companies within the territory.
“We’re simultaneously building up our
local team and expanding our local Andrew Chan, CEO, Sony Music Entertainment, Greater

roster. Our key task is to improve our China, is just as optimistic. “Paid music subscribers account for a
domestic A&R capabilities to ensure much lower percentage of the population compared to Korea and Revenue growth in India in 2023
comprehensive support for our artists Japan, so we can see there is still huge opportunity for growth. We
14th
at every turn of their careers. place huge value on nurturing our in-house artists and implement
“I started my career in China in holistic development strategies for them. Our commitment lies in
1992 and to see the changes that have showcasing the unique strength of our artists and enhancing their
taken place across 30 years has been distinctiveness, allowing the audience to instantly associate with
really fantastic. With the market’s them around certain topics. For example, we have a boy band in
influence on the rise, the cultural Taiwan called Ozone who have become strongly associated with largest global market in 2023
influence of Chinese music is poised fashion, whilst Hong Kong singer Mischa Ip, and Sichuan-born singer
to amplify globally – a vision that Sury Su, whose music primarily revolves around gaming, have become
has never been more attainable than the most associated with gaming in people’s minds.”
now. There were over 1,000 music In Japan, Robson is confident that global expansion is on the
festival shows and over 900 arena and agenda but adds that there are some challenges. “In some ways
stadium concert shows in China last Japan’s biggest strength is also its greatest challenge, and that’s the
year, more than 80% growth from 2019 fact that it is the second biggest market in the world. It hasn’t had
in terms of ticket sales revenue, which to look overseas for opportunities. It’s very impressive to ‘just’ be
is incredible. “There is also increased incredibly successful in Japan. Jasleen Royal photo courtesy of Warner Music India
diversity in terms of music genre “Japanese culture is highly respected around the world, from
than ever before. Local Hip-Hop, for film to architecture, we’ve got a really big opportunity in the music
example, is becoming really popular. industry to bring its music to a global audience.”
To cater to this landscape, we now Robson expands on the idea of making global connections for
have adopted a multi-label strategy artists: “What we are currently referring to as our ‘trade routes’”. Vinit Thakkar, Managing Director, Sony Music Entertainment
here, with names like Capitol, EMI, He says: “What we mean by that is strong connections between India, says: “The music industry is in very robust shape here and I think
Republic and PolyGram to support territories. One such example is between Canada and India. There is we’re on the cusp of some really exciting developments.
different artists. This approach a large Punjabi diaspora in Canada, and within that there is a strong “The DSPs are making a concerted effort to pivot from an ad-
enables us to meet more diverse needs creative community. supported market to a paid subscription model. And on the creative side,
and promote a broader spectrum of “In 2022 three or four of the Top 10 Indian songs came from artists alongside the success of the soundtrack business that we have always
artists and music genres.” who had either moved to Canada or were spending a lot of time there. had, we are seeing a strong emerging trend of music centred around the
As a result we set up 91 North Records, a joint venture between Warner artist, and as a result, the development of pop culture.
32
Music India and Warner Music Canada, which is both a reaction to “As that happens, we are playing a vital role in making connections,
something that is happening organically and a proactive turbo- in terms of collaborations, writers and producers, but also helping to
charge to make sure it doesn’t just continue but flourishes and finds build context and narrative around these artists, being holistic creative
a wider audience. There are examples of this criss-crossing the world.” partners for them.” 33
AR Rahman photo by Ashik Mohammed

A story of diversity
EUROPE and growth
Europe, recognised as a broadly

well-established music streaming-led
market, is also remarkable for its strong
local music cultures. However, even
within the continent, countries have
very different music environments.
Frank Briegmann, Chairman &
CEO, Universal Music Central
Europe & Deutsche Grammophon
explains: “Across Central Europe,
we are seeing strong growth but the
dynamics differ country by country.
On one end of the spectrum, you find
markets like Norway and Sweden with
some of the highest penetration of
premium subscribers worldwide. On

the other end, many of the Eastern
European countries are still in the PinkPantheress
early stages of market penetration. photo courtesy
of Warner Records
Another distinctive factor is the DSP
market positioning, where we see
high concentration in the Nordics,
and a highly diversified landscape in
markets such as Italy, Eastern Europe, For Briegmann, helping to drive the continuing growth of markets
or Germany. It is one of our central is still vital, even in what is considered to be a ‘mature’ part of the music
Måneskin photo by Francis Delacroix
tasks to navigate this for and with our world: “In general, the approach is to grow the ecosystem. When that
artists.” happens it’s good for all participants. To achieve this, it is vital to embrace
Europe’s variety of very localized music scenes. How we can shape each
market to the advantage of our artists is something that we intensely
focus our work on.” However, there remain challenges: It’s like when all the stars and planets align.
France is a strong example of the trend towards hyper-localisation. “The base of paid-subscription streaming They have all the elements that a band “[Måneskin’s] success
Alain Veille, President, Warner Music France, says: “Domestic
repertoire is at its highest level ever - last year 17 of the Top 20 albums were
is the key challenge and is still very low.
But we remain optimistic and see it as an
needs to be successful. They’re stylish,
they are fantastic performers, and they
has opened a lot of
from domestic artists.” Whilst much of the more commercially successful opportunity for growth, whilst being the have sold out shows all around the globe.” doors for other Italian
music is rooted in French Rap, Veille explains that there are opportunities best partners we can be for the DSPs to Sacchi reflects on the impact the artists too.”
for artists from other genres to break through: “We work with a French help them invest in France.” band’s success has had on the global FEDERICO SACCHI
pop artist called Santa. She has evolved into a proper French chanteuse in In Italy, Federico Sacchi, A&R opportunities for Italian music: “First of A&R Director, Sony
Music Italy
the heritage of such big artists as Véronique Sanson, Michel Berger, those Director, Sony Music Italy also points all, we learned that something like that
iconic artists. She came with a piano-led song, and we put a passionate to a healthy domestic market and thriving is actually possible to do. Their success
effort into introducing it as an alternative to the strong French Rap scene. country-level music genres: “For the last has opened a lot of doors for other Italian
Fast-forward 18 months and she’s rubbing shoulders with the rappers at five years, all the top 10 albums here have artists too. We accept that Italian is not
the heights of the top of Spotify. A French pop artist expressing herself been by Italian artists; the local repertoire a global language but now when we talk
in French. It is a sign of what the future will bring: more diversity where is a big thing which is very healthy. to other parts of the world, more and
lots of different genres will have their share of the market.” When looking at developments in more doors opportunities arise for us to
Marie-Anne Robert, Managing Director, Sony Music the Italian music scene, it’s impossible promote Italian artists.”
Entertainment France, reflects on the popularity of various genres: to ignore Italian rock phenomenon,
34
“Hip-Hop continues to dominate, but it has now diversified and expanded Måneskin. One of the most globally
so much that it is almost too big to be considered a single genre. Alongside successful European acts in decades.
Angèle photo by that, French Pop is increasing and will continue to do so.” Sacchi says: “Yes, it’s an incredible story.
Manuel Obadia-Wills 35
AFRICA
A rich blend
of genres
and cultures
driving
creativity
and growth

Abo El Anwar photo by Kafrawy
The Africa music region continues to there are kids singing along to a rapper who’s never performed here
be one of the fastest growing in the world. before. Things like that exemplify what we should be doing.”
Tunji Balogun, Chairman & CEO, Christel Kayibi, Director of Repertoire Strategy, Sony Music
Def Jam Recordings, explains their very Africa explains how a rich blend of genres and cultures is driving
deliberate strategy to engage and drive growth and creativity: “The growth across various African genres
developments in the region by forging is the highlight for me. I always wanted there to be more to African
partnerships: “When it comes to music music across the world than just Afrobeats.”
coming out of Sub-Saharan Africa, we’ve “Obviously Amapiano is becoming well-established on a global
partnered with a label from Nigeria called stage, but there are other artists and genres ready to step into
Native. They really spoke directly to this the spotlight. I think that as labels, because the A&R sector is so
community of Gen Z African kids. I met competitive, particularly around certain tracks, we need to ensure
them probably four or five years ago, and that artist development and building sustainable careers – in Africa
I felt strongly that I wanted to work with and overseas, remains an important part of our toolkit. That’s the
people that have genuine connection to name of the game for all record companies in my view.”
the culture on the continent. We decided Simon Robson concludes: “What is so exciting about Africa is
to do a joint venture. We signed an artist, that the music itself – from a variety of genres – just seems to be
Odumodublvck, a rapper from Nigeria something which transcends national or global barriers. The market
and last year he was the biggest new artist, itself is still coming from a low base but is showing strong growth.
I would say on the continent.” So there’s an element of helping those internal markets to continue
The nature of the partnership also to strengthen and become more material and meanwhile, the export
means the rapper was able to connect with potential of African music is huge.”
a US audience via Def Jam. Balogun says: Reflecting on the nature and future of emerging markets in
“He’s done really, really well. He actually general, Alfonso Perez-Soto, President, Emerging Markets,
did his first show in the States, to a packed Warner Music, says: “I think they show the strength and quality
room. Everybody knew all the words. Just of music from every corner of the world. When you have DSPs and
36
seeing it go from a movement in social media meeting incredible artists and strong cultures, great
Nigeria to now like ‘I’m at the music will win. It will also have the chance to reach a level of audience
Peppermint Club in LA’, and that was previously denied – and those chances are being taken.”
Ruger photo courtesy of Sony Music Entertainment
37
Fally Taking a Congolese icon

C Ipupa to the global stage
A
When Alexis Puterflam, MD of Elektra, brought Fally Ipupa to Elektra marketing, and getting our media teams
Records/Warner Music in France more than six years ago he knew he was up to spread his story. He has a great
S
signing someone who was already one of Africa’s most storied artists. story, we just needed to tell it in a way that
Fally had come to prominence as a member of the critically acclaimed resonated with new audiences, with the
E
Congolese band Quartier Latin International before achieving huge press, with TV exposure, and we began to
popularity across Africa for his solo projects, which were mainly in the get there. It wasn’t easy, it took work, but
Congolese Rumba style. he had a great team evangelising about
him.”
STU D
“Fally was just a hugely talented artist,” says Puterflam. “He was That work paid off, as evidenced by
respected across Africa as a singer, composer, dancer - the whole Fally’s social numbers. YouTube, his
package. He had this aura and potential that I felt we could build on, strongest channel when Elektra signed
even with everything he had established already.” him with 75,000 subscribers, now has over
Elektra’s plan was to take an artist who was a major act in his own 4.1 million subscribers and over 1.8 billion
homeland and connect him to a wider audience. To do that there would views. His Instagram followers have gone

need to be a musical evolution, and it was vital that the artist shared the from 700,000 to more than 5.3 million, and
vision. he has more than 1.4 million followers on X
A
Y
“That’s what we had with Fally”, says and over 2.2 million followers on TikTok.
UP
Puterflam. “He knew how big he was in That first single ‘Kiname’ – featuring
“Fally had this aura
F A L LY I P
Africa and in the diaspora and he knew and Booba - set the tone for the album’s
felt he could do more. Our task was to put and potential that I felt success, being certified Gold in France.
a great team around him, and to make sure we could build on, even There was a further Gold certification for
that those people completely ‘got’ Fally.” with everything he had the single ‘Bad Boy’ - featuring R&B singer
The results came in the shape of Aya Nakamura, and the album went on to
Tookoos - the title of the album and the
established already.” achieve Gold certification in France and a
ALEXIS PUTERFLAM
term Fally came up with to describe his Managing Director,
Platinum export certification.
new sound, retaining the essence of his Elektra Since then, Fally’s success has
music while bringing in beats more familiar continued. Elektra has released another
to global ears. The Elektra team ensured Tookoos album (in 2020), and two more
the album included collaborations with in his traditional Rumba style, all of
stars including Wizkid, Booba and Aya which were successful. With the recent
Nakamura. popularity of Afrobeats across the world,
“The collaborations were important,” it appears the market is now coming to
says Puterflam. “Obviously they’re a way Fally.
of opening doors in other countries, “Since coming to Elektra, “says
but when we took Fally on, other than Puterflam, “Fally has surpassed over a
YouTube – where he has always been strong billion audio streams in all. The seeds
- we had to add everything in terms of his we grew with another style of music are
digital presence. Audio streaming was still now benefiting his traditional music,” says
relatively new for him in 2017 and we had to Puterflam, “and further setting up him as
fast track his presence on those platforms.” an international superstar. With African
The marketing campaign aimed to music coming to the fore worldwide,
tell Fally’s story in new markets. “It was Fally is benefiting from having been a
about spending money in the right places,” trailblazer.”
says Puterflam, “that was videos, digital
38 39
It ensures that record companies not only keep pace with Via its production company, Seriously
wider technological revolutions within spheres such as AI, audio Happy, Warner Music Entertainment is
and gaming, but also with the redrawing of demarcation lines, the using AI technology to recreate Piaf’s
revolution in A&R and the reimagining of artist partnerships. voice and image, whilst developing the
Record companies have become leaders and drivers in innovation project hand-in-hand with the singer’s
across multiple sectors, sometimes solo, sometimes in partnerships, estate in order to enshrine accuracy and
ensuring the path ahead not only takes artists towards their goals, authenticity.
but that it is built with respect for copyright and fair remuneration Alain Veille, President, Warner
in its foundations. Music France, says: “The very first thing
Michael Nash, EVP, Chief Digital Officer, Universal we did was approach the Estate, and we
Music Group, strikes an optimistic opening note: “Evolutionary have subsequently kept them in the loop
technological change helps broaden the addressable market for at every stage as the project evolves,
music, from everything that’s happening in the social sphere, particularly in regard to what Edith will
to breakthrough applications in health and wellness, to deeper look and sound like on screen. That
integration in gaming extending into new immersive constructs isn’t just a recipe for success, it is literally
loosely define as the metaverse.” the only way we would ever approach
Dennis Kooker, President, Global Digital Business, Sony something like this, with transparency on
Music Entertainment, says: “We’re at the beginning stages of a our side and complete buy-in from them.
very significant transformation in how people want to experience “This is not innovation for the sake of
and consume music. it, or using AI to showcase what it can do,
“Our focus is on driving experimentation and commercial this is using the very best technology and
framework development around the new technologies powering this the sector’s leading experts to serve the
change, including immersive entertainment, gaming and generative story and to honour the artist.”
AI. As these innovations advance and increasingly converge, we
RE
want to provide our artists with new formats for creativity and new
business models that appropriately value their work. By doing so we “As always, technology both
best position our talent to benefit from new ways to reach audiences promotes opportunities and
and an increase in monetizable channels that can complement the introduces challenges. What

C
streaming model.” we need to do is consider how

O
to navigate those opportunities

and challenges in order
R
to optimize the outcomes
ENGAGING WITH AI and expand and enrich the

D
ecosystem supporting our

artists and creative partners.”
Innovation is at the heart of every MICHAEL NASH
EVP, Chief Digital Officer,
C
record company and in the DNA of every Universal Music Group
department – from Marketing to Business

O
The emergence of generative artificial intelligence is the latest

Affairs, A&R to Accounting. No longer such challenge. There is a tremendous amount of potential but Simon Robson, President,
M
defined by technology, innovation drives the need for artists’ rights to be protected, and their livelihoods
enhanced and not harmed, remains at the forefront of the discussion
International, Warner Music, reflects
on the broader AI picture: “Anything that
working practices, business models, fan in the music industry. makes it easier for artists to create great
P
interaction, ethical and ecological agendas UMG’s Nash continues: “Then there are the significant music should be embraced. And it also
opportunities associated with disruptive technology like AI. If you shouldn’t be forgotten that there have
and much more.
A
look at how technology continues to transform consumer behaviour been technological developments down
and the business landscape, I think there’s a strong case for optimism. the years which have prompted fears over
NI
“As always, technology both promotes opportunities and a diminishing of ‘real music’, but from
O
introduces challenges. What we need to do is consider how to which artists and fans have benefitted
DR
navigate those opportunities and challenges in order to optimize massively.
I
ES
the outcomes and expand and enrich the ecosystem supporting our “AI has that opportunity as well, but it
T
N
IVI N
artists and creative partners. also comes with the unavoidable, massive
NOV A
“With AI in particular, I think one of the things that happened issue of copyright infringement. That is
in 2023 was that the industry aligned around what are the right something we always have and always
G IN
questions we need to be asking about the directions we should take. will feel incredibly strongly about, no
What should be the foundational principles?” matter where the threat comes from, and
One area in which AI must be utilised with the utmost sensitivity we will push and fight every step to ensure
40
and respect is when projects involve deceased artists and their work. fair legislation that supports the creative
Warner Music France is currently working on a project that is community. You can never completely
helping to establish best working practice. Edith is a forthcoming close the window for bad actors in this
Agust D photo courtesy of BIGHIT MUSIC animated biopic of one of France’s most iconic artists, Edith Piaf. area, but we can and will make it as small 41
as possible.”
In 2023 it launched STAGE+, a new

video and audio streaming platform
Innovation in practice:
EVOLVING THE STREAMING
life was so cool. It’s basically a giant sphere and the city specifically for classical music. As well
is placed there. And I really wanted to expand more into as its catalogue, the subscription service
CREATING NEW MUSIC

the realm of gaming. I think it’s a great way to expand the also offers live streams, documentaries
art that is my song ‘Jericho’ and a great way to get people and exclusive interviews, all aimed at
to be a part of the Jericho world.”
PROPOSITION broadening the audience for classical
EXPERIENCES THROUGH
Says Kooker, “Our internal capabilities, combined music. It is available as a mobile, web or
with our ability to collaborate across the Sony Group TV app, with Dolby Atmos audio and 4K
companies and our deep experience with Unreal Engine video.
LEADING-EDGE TECH
and UEFN tools has enabled us to quickly build and launch Frank Briegmann, Chairman &
new music focused experiences on Fortnite and push CEO, Universal Music Central Europe
the creativity opportunities even further in our virtual & Deutsche Grammophon, explains
production projects. These creative tools are incredibly the background to the initiative: “Initially,
important and we’re further expanding our work with streaming mechanics and streaming
The synergies between music and gaming are well- them to provide our artists with more ways to reach culture didn’t connect with traditional
established. As technologies evolve, there are more fans through differentiated content and entertainment classical music fans. Interestingly, at the
opportunities to not only soundtrack game play but experiences.” same time, we saw significant streaming
to create fully integrated, often immersive experiences growth in the field of new repertoire,
for music fans, using innovative new creator tools as represented by Max Richter, Hildur
and platforms. Sony Music’s collaboration with Guðnadóttir, Ludovico Einaudi or Joep
Columbia artist Iniko and Fortnite is an example of Beving, who took an innovative approach
this approach. at the intersection of classical, ambient
Using the in-house expertise of its Sony Immersive and electronica music and had a huge
Music Studios (Sony IMS) division, Sony Music led impact through chill-out and minimal
the production of both a high-concept music video piano playlists.
for Iniko’s song “Jericho,” and companion game for “This brought in an entirely new
Fortnite based on the video called Journey Through audience to our genre, and in the live

Jericho. The project is among the first translations of space we fostered audience growth in the
a 2D music video into a 3D gaming environment. young generation through Yellow Lounge,
To achieve this, the video was shot on Sony a barrier-free club format for classical
Max Richter photo by Mike Terry
Pictures’ state-of-the-art LED virtual production music performances – which is also live-
stage with Sony’s advanced VENICE digital cinema streamed globally and leveraged through
cameras, and featured detailed virtual backgrounds social media.
and settings built by Sony IMS using Epic Games’ In music streaming there is continuing emphasis on innovative “The digital success and audience
Unreal Engine technology. Sony IMS then transferred approaches of all kinds to move and more consumers into premium demand inspired us to consolidate our
the virtual set pieces created for the video into Fortnite subscription tiers at a time when fan engagement with ad-supported classical content offerings – audio and
using Epic Game’s EUFN creator tools, and used them short clip platforms continues to grow. video, live and on-demand, performance
to build the Journey Through Jericho island. SME’s Kooker says that, for labels, a focus on both technology and documentary formats – on a single
innovation and business model innovation go hand-in-hand. destination for superfans: STAGE+
He says, “The core streaming product, as it exists today, has delivers comprehensive and unique
“It was dope to be the first musical artist been in the market for more than two decades and product/model experiences around top artists in the
to use Sony’s virtual production stage.” innovation is necessary to continue to engage and excite fans. highest audio and video quality available,
INIKO “We need to keep looking at the pathways between tiers and and the service currently becomes ever
product types – in other words, the consumer route from short clips more immersive with Dolby Atmos live-
to ad-supported tracks to subscription. We need innovation to drive streams as well as being the first classical
In the resulting game, Fortnite players race music fans through a journey from free to premium products as much app on Apple Vision Pro.”
through the dystopian world of the music video in a as any other technology development.
parkour-style dash to the finish line. Meanwhile, the “Younger consumers are spending so much time on short-clip
song’s lyrics drive in-game effects. When Iniko sings platforms that it is impacting the amount of time they’re spending
“I can go higher,” for example, players experience the listening to full songs. So, in more mature markets we need to look
game’s low-gravity effect. at the proposition of an ad-supported tier versus a paid tier again.
“It was dope to be the first musical artist to use And the prevalence of short-form video needs to be part of that
Sony’s virtual production stage,” Iniko said of the conversation.
experience. “When I wrote the treatment for the “The next step in the evolution of the ecosystem is delivering
video, it was important that the city felt real to my more value and providing compelling upsells to better and more
description: dystopian and barren. Seeing it come to differentiated consumer experiences. Technology and an evolving
consumer experience will be part of that differentiation.”
42
Deutsche Grammophon, a division of Universal Music Group
and the oldest still-operational record label in the world, is using a
blend of leading-edge technology and business model innovation to
revitalise its classical music offering. 43
Doja Cat photo by Jacob Webster

they have the tools to communicate with created by celebrities, influencers and fans Pastor says: “We want to be partners and provide holistic solutions to
these new fans? Now that we have our final alike… seeing this content generate over help artists to develop their careers wherever they are in the world. They
‘girl group’ KATSEYE, how do we ensure 50 billion short-form social impressions can do that in all kinds of new ways – it can be with creative approaches
fans are superserved in a way that they in a matter of weeks was truly mind- to deal-making, or how we and they think about a global approach to
become superfans?” blowing and more evidence that this was marketing.”
Fan interaction was central to one of becoming one of the most significant Myers adds: “There are things that are impediments to an artist’s
the most successful and resonant cultural music moments in recent history. success where we can help overcome those challenges. And I would put
moments of 2023, the Barbie movie, which “Being on the right soundtrack can those in a few different categories, from the complex administrative stuff,
generated more than US$1 billion at the propel a developing artist and provide which isn’t why anybody got into the music business to start with: royalties,
box office and attracted glowing reviews. established artists with the platform financial operations, and all the extraordinarily complex back-office stuff.
Music, of course, played a huge part to have huge hits tied to the significant “But it can have to do with the creative vision, marketing plans, and
in the film’s appeal, with the soundtrack, marketing of the film, series of other what to do internationally. We want to help labels get past that point,
Barbie The Album, topping the charts in 10 forms of IP. It can be a once in a lifetime which used to have to be solved by, ‘I’m licensing it to somebody in
countries and going Top 10 in a further 25. opportunity if aligned in the right manner.” Australia.’ Now, you help them do it themselves.
The success story within the success Another well-established element of “That global piece is extremely important because one of the most
story within the success story, of course, a record company’s role is distribution. exciting things that has happened in the last five years or so is just the
was the Billie Eilish single, What Was I Although the word itself is one that Virgin breadth of new artists that can have global success, whereas it only used
Made For? which topped charts around Music Group Co-CEOs Nat Pastor to be the big English language superstars. We see it with Latin, we see it
the world and won two Grammys (Song and JT Myers believe has been made with K-Pop, we’re starting to see it with Nigeria. Then it’ll be India, South
of the Year and Best Song Written For redundant by changes in function and Asia, or wherever next, and that’s extremely exciting. We can be there for
Visual Media). It also won an Oscar for philosophy. partners with that vision and potential and help make sure they realise
KATSEYE photo courtesy of HYBE
Best Original Song – with I’m Just Ken by that full potential.”
Ryan Gosling among the other nominees
Metallic Spheres
EVOLVING RECORD COMPANY
in this category.
Kevin Weaver, President, Atlantic
Records West Coast, Warner Music, in Colour:
PRACTICES
reflects on how the story behind the album
A PIONEERING ARTIST-LED
highlights the time and resources record

companies put into working with artists
and other partners on such projects in
AI PROJECT
Michelle An, President of Creative Strategy for Interscope Records, order to maximise opportunities and
Universal Music Group, describes how working with the No.1 K-Pop audiences whilst building brands and
company in the world, HYBE, has introduced new approaches and businesses.
attitudes to A&R and marketing, especially to superfans. “I always had a strong feeling this In November 2023 Sony Music released the Metallic
Geffen Records (IGA) first partnered with HYBE in 2021, film and soundtrack would become a Spheres in Colour AI Global Remix Project, described
announcing a joint mission marking the first time a major U.S. significant pop cultural moment and we as an artist-led commercial generative AI project.
record label and a K-Pop entertainment leader would combine their stayed very close to the project for about The experience encourages fans to use AI to
expertise in artist discovery and music production to assemble, five years in total. reimagine the music and artwork from the latest
develop, and introduce a global girl group unlike any other. HYBE “It was a real jigsaw puzzle at times, collaborative album by The Orb and David Gilmour,
and Geffen (HXG) auditioned young women from all over the world, navigating the complexities of co- Metallic Spheres In Colour.
and brought trainees to L.A. to learn under a system modelled after ordinating with 23 artists, their teams Created in partnership with generative AI platform
HYBE’s K-pop T&D (Training and Development) program in Korea. and labels, numerous songwriters and Vermillio, fans visiting metallicspheres.io can remix the was very much meant to be an artist-led experiment
From 120,000 applicants, a pool of trainees were flown out to L.A., producers, samples and interpolations, album’s cover art by listening to selections of Metallic in which an artist approached us wanting to lean into
and from that pool 20 candidates were announced as finalists to whilst also uniquely fitting the music cues Spheres In Colour’s musical movements in a live group the technology. These are artists that have a history of
compete for a spot in the group. Eventually six incredible women in the movie. setting and typing in key words describing how the being incredibly innovative and cutting-edge.
were selected to become the final group known as KATSEYE. “The entire process – from A&R audio makes them feel. The AI model powering the “The experience for consumers is straightforward
“While two different companies, we discovered that the HYBE and strategy to the marketing collaboration experience then generates new, unique images based with clear controls around the inputs and how the
Geffen teams shared common goals in our approach in creating the with Warner Brothers Pictures and Mattel, on the descriptions provided by the listeners. visuals and the music of the artist can be used. It
group; it’s about being highly creative, thoughtful, and operationally the global release plans and the extensive Each new community artwork creation has a music demonstrates the types of products that can be
savvy. With the group’s formation, we tuned into the human spirit of digital and social media campaigns – was selection from ‘Metallic Spheres In Colour’ associated developed and explores the opportunities for business
each finalist and I believe we helped the trainees discover the best exceptionally intricate. with it that also can be remixed by adjusting sliders to models and monetization around AI.
versions of themselves. The T&D program was an immersive artist “But then in the summer, with social indicate desired mood (chill -> high energy) and tempo “We need to keep learning by continuing to
development experience. It also felt collegial and supportive. It was media saturated with our soundtrack (slower -> faster). Those choices are then combined develop and grow opportunities for responsible AI in
amazing to watch Bang [Si-hyuk, Chairman of HYBE] and John singles and the adjacent content being with the emotional inputs used for the album art to collaboration with our artists, technology partners and
[Janick, Chairman & CEO of Interscope Geffen A&M] work out produce an original reimagining of the audio. fans.
not just the sound of the group but also think about the storytelling Fans can share links to their creations via social “How AI is ultimately used by the music industry will
around the group, a story that truly reflects the spirit and persona of It’s about being highly creative, media along with their reimagined album covers and be led and defined by artists who want to lean in, be
the young women individually and collectively. thoughtful, and operationally purchase full length remixes of the music selections as experimental and find ways to engage with their fans in
savvy.
44
“We were also focused on the importance of storytelling a download. new and different ways. That is what’s going to guide
to the fans from day one. How would the trainees be MICHELLE AN Dennis Kooker, President, Global Digital us into the future.”
perceived by the fans of HYBE and Geffen. Once the young President of Creative Strategy for Business, Sony Music Entertainment, says: “This
Interscope Records, Universal Music Group
women went public on social media as official finalists did 45
Innovation in finding is that music, used as a tool alongside other
healthcare: treatments, can make a real difference for all types of

patients.
“Music therapists working with stroke patients and
THE HEALING POWER

patients with brain injuries have reported astonishing
improvement for patients using music therapy. There’s
now a device that enables patients to listen to music at
OF MUSIC
home that creates a beat on their feet, via wearable tech.
One practitioner plays the guitar for patients, helping
them find the rhythm to walk. It’s really remarkable.”
By its very nature, music is about innovation and In the area of mental health, Mazo says: “I think
creativity. That spirit pervades the industry, leading to during COVID, we saw how helpful music could be
new areas of exploration. in connecting people and sustaining people through
For Universal Music Group, one such area is a difficult and perhaps isolated period. Studies now
exploring new and greater opportunities for music in prove that connection between music and mental
the area of health and well-being. health, depression and anxiety and we’re working on
Under the initiative, UMG is licensing its catalogue a suite of apps to bring even more focus to that area.”
of music to more than 40 companies working across UMG’s ongoing exploration and advancement
the field of health and well-being. UMG’s music is not of music’s role in physical and mental well-being was
only being used to soundtrack fitness, mental well- brought into focus at a dedicated event in September
being, relaxation and meditation, but it is also being 2023 co-sponsored with Thrive Global, a platform
used in treatment for a broad array of other medical for some of the research, products and applications
conditions, ranging from Alzheimer’s, dementia, brain around the relationship between music and health.
injuries and Parkinson’s to recovery from stroke. Speakers included experts from the fields of science,
Susan Mazo, EVP of Global Communications, health, fitness and tech – as well as contributions from
Universal Music Group, says: “We’re finding that artists such Selena Gomez, who talked about how
music can play an important role in health and well- music has helped her on her mental health journey.

being, and in ways we never knew it could. It was an above-the-line moment for a deep and
“For example, many people are aware of the long- permanent commitment to finding out more – and
Tingly Ted’s have, to build brands and businesses driven and owned standing uses of music to help with mental health, with doing more – in regard to how music can make a
Hot Sauce: by them.
“They can be complicated undertakings, and that
anxiety, with sleep, etc. But neuroscientists are finding
that music, when combined with other treatments,
practical positive difference to people’s lives around
the world.
means we work with the right partners in terms of can also help with a wide range of stroke patients, with Mazo concluded, “We held the summit because we
THE NEXT LEVEL OF BRAND manufacturing, distribution, industry regulation etc.,

but the top and bottom line is that we use our resources
and our network to bring an artist’s dream brand to life.
Alzheimer’s, dementia, brain injuries and Parkinson’s.
“We are not a health company; we partner with
health providers. And what health professionals are
want to bring this exciting development to the public
and talk about it. It’s something we’re happy to share
and hope others will join in.”
PARTNERSHIP
“The people in A&R will laugh at this, of course, but
there are similarities! We’re guided by the artist’s vision
and we bring together the people, the tools and the
When it comes to brand partnerships, authenticity expertise that will realise that vision – only that vision
is a key consideration for artists looking to collaborate might be a hot sauce!”
or endorse a product. For Ed Sheeran, who fronted a In the case of Tingly Ted’s hot sauce, Catherine
campaign for Heinz tomato ketchup in 2019 and has Roe, VP, Artist & Brand Partners, WMX, says: “Ed
a tattoo of a bottle of the sauce on his arm, this was already had a great working relationship with Heinz,
never an issue. which obviously helps, but more importantly, from day
In 2023 then, Sheeran and Heinz joined forces again one, he saw the whole thing. He knew what it should
when UK superstar artist decided he wanted to create taste like, what it should look like and how he would
a hot sauce, Tingly Ted’s. interact with it.
The collab came through WMX Ventures, which “We responded to his vision, gave him options,
Warner Music set up as part of WMX, last year. Bob maintained a dialogue… we, and the people from Heinz,
Workman, Head of WMX Artist & Fan Experience, would go visit him on tour, or we’d visit him in the studio,
UK & Rest of the World, SVP, International Artist & and Ed was always receptive, always clear and always
Brand Partners, explains: “It’s essentially the next stage decisive. All of which meant we delivered exactly the
in the development of a brand partnership business, product he wanted and a product he could genuinely
whereby we utilize the relationships we have with our get behind.”
artists, the passions they have and the expertise they
46 Photo: Ariana Huffington, Selena

Gomez & Sir Lucian Grainge at Thrive
Global’s music + health conference
47
RCA’s Peter Edge and

SZA John Fleckenstein reflect
on working with the
emerging global superstar
The release of SZA’s second solo album, SOS, has seen the artist SOS came out in December 2022. In the
break numerous records and established her as a rising global superstar. build up to the release, there was a feeling
Critically hailed on release, SOS debuted at #1 in the US, amassing over that something special was coming.
400 million streams in the US alone during its release week and charting Peter Edge says: “Having been part of the
at #1 around the world. SOS has now yielded four #1 hits on both Rhythm process, I felt that on a musical level it was
and Urban Mainstream radio - Snooze, Kill Bill, Shirt, and I Hate U, and has something extremely unique. It took a long
seen SZA named Billboard’s Woman of the Year 2023, Webby Awards while for her to feel like she had the album
Artist of the Year, WSJ Magazine’s Innovator of the Year, and Variety’s that she wanted to put out. Many people
Hitmaker of the Year. SZA also won three awards at the 2024 Grammys, will tell you that her previous album, Ctrl,
where she was the most nominated artist overall. changed their lives. So yes, she felt the
Peter Edge, Chairman and CEO, RCA Records, says: “It’s so pressure of following that up and to do
exciting to have this combination of critical acclaim and commercial that, she went really deep into herself on
success. The way that she speaks to and connects with her fans is truly the songs and spoke really candidly about
SZA remarkable.” where she was coming from. I think that

SZA signed to Top Dawg Entertainment (TDE) in 2013 before releasing was a big reason why it has gone on to
her debut album Ctrl on TDE/RCA in 2017. John Fleckenstein, COO, become such a success.”
RCA, talks about how long-term relationships with Anthony “Top Dawg” With SOS establishing SZA as a rising
Tiffith and Terrence “Punch” Henderson at global superstar, Fleckenstein is excited
TDE have helped foster her career from the about what might come next and how
CASE
start. “Punch and Top have been there for “It’s so exciting to have RCA will continue to support her: “I think
Y
Solana from the onset, both as her label and this combination of Solana is a creative’s creative, I’m not sure
D
critical acclaim and
STU
management. Our relationship is built on there are limitations on what she may do
trust and stellar communication. We make commercial success.” next, I can’t imagine her not making music,
a lot of effort to work as one and to stay PETER EDGE that’s for sure. We’re going to offer her the
unified and cohesive. Nearly every person Chairman and CEO, trust and support to make whatever she
at RCA who works on Team SZA has an RCA Records wants to make next.
individual relationship with both Punch “At RCA we are very, very committed to
and Top, and I can’t speak highly enough creative freedom. We believe in allowing
of them and the way they work in tandem for time and space in development and
with our team.” her future will be defined by where she
Fleckenstein believes that it’s this close wants to take it”.
collaboration that has helped drive the SZA has achieved over 10 billion
artist’s success: “The art SZA creates is streams to date across all platforms.
incredibly personal, and she speaks and
interacts with her fans directly – so it all
starts with her and her magic. To enhance
that on a global level, there are tons of
incredible minds at TDE, RCA, and Sony
worldwide working tirelessly to ensure
people are being exposed to her art and
her message. When everyone is working
together and in full alignment, it feels
effortless and spontaneous, but the reality
is that it requires hundreds of people doing
48
a lot of little things to make sure the album is
positioned in the right way in every country
around the world.”
49
Embracing human
A N E NV I
creativity in the
IN G RON
time of AI
E AT ME
THE SOLUTION
Used responsibly, AI can contribute
R
to amazing creative opportunities and
enhance human artistry. The music
community has been at the forefront
of technological change for decades –
and it is with AI as well. Record labels AI developers must respect existing laws
C
and artists have been using AI as a International treaties, free trade agreements, and national
NT
marketing and production tool for laws worldwide ensure that copyright works and recordings
years, including using it to enhance cannot be used without authorisation from rightsholders.
the creative process and collaborate They also require that any exceptions to these rights must be
on cutting-edge projects. limited and must not unreasonably prejudice rightsholders.
These general rules also apply to the use of copyright content
Facing the in the context of AI.
Using copyright-protected materials to train an AI system
challenge of is not “fair use” and there is no justification for governments
generative AI to create new exceptions to copyright for the purpose of AI
training. The music industry has a long-standing record of
Generative AI presents particular licensing its content for various technologies and partners
challenges for the music industry. High and it is working with AI companies to enable responsible
quality content is one of the key inputs and ethical AI.
for high quality AI systems, on the
same level of importance as technical AI developers must not be allowed to appropriate
talent and computing power in which an artist’s voice, image, name or likeness without

AI companies invest vast sums of authorisation
H R IV
money. However, many generative Alongside the rise of deepfakes on social media, the
AI developers are “training” their music market has seen a proliferation of AI ‘voice cloning’
models on large amounts of copyright- models that let others generate synthetic content that
protected content (including musical mimics an artist’s voice, image, name and likeness without
NT
works and sound recordings) without authorisation.
authorisation from, or payment to, This activity can mislead fans, causing potentially serious
WH
rightsholders. That is the case even harm to an artist’s reputation as well as interfering with
S
IN
CA
though they produce outputs based on carefully planned promotional campaigns for the artist’s
ICH TO R
the content they ingest – cannibalising legitimate releases. It distorts competition by allowing those
MUSIC AND CREA

artists’ business. generating the clones to unfairly compete with artists whose
Using large amounts of music music and likeness has been used to train the AI, unfairly
without authorisation to produce leveraging the goodwill the artist has built with their fans, as
clones of the original content or well as the significant label investment which has been made
products that compete directly with in that artist’s career.
the original works or recordings, The issue, therefore, calls for the robust application and
presents a fundamental problem for – where needed – enhancement of intellectual property (or
the music ecosystem. It is not right that other) rights to ensure that artists are able to protect their voice
a generative AI company can create a and likeness, which are at the heart of their artistic identity.
commercial, consumer-facing product
developed on the back of artists’ AI systems must be transparent about the content
creative output, refuse to compensate used to train them
them or other rightsholders, and To ensure their rights can be fairly and effectively licensed
then have that product compete and enforced, and to provide clarity to consumers about the
The landscape for music is evolving at an unprecedented pace. with those artists and rightsholders nature of the content they are interacting with, generative
whose creative inputs they have AI developers must be transparent regarding the source
It brings new and exciting opportunities for artists and their fans appropriated. To put it another way, material used to train their systems. Rightsholders must
worldwide. However, it also presents challenges to ensuring that what incentives are there for anyone in be able to verify whether their work has been used in the
music’s value is properly recognised and that those who invest time, the creative communities to produce
original works if they are going to
development of a generative AI model or by a generative AI
system. Nobody can have confidence in the efficacy of an AI
effort, resources and talent in creating and releasing music do not
50
be taken, for free, and used to build product unless they understand what went into making it.
see their work exploited or used without consent. lucrative generative AI businesses by It is therefore essential and reasonable to hold AI
technology companies? developers responsible for documenting the content
they have used to train their models and to disclose that 51
Aimyon photo courtesy of Warner Music Japan
information to those with a legitimate interest in that IFPI conducted one of the largest music
information. Systems already exist to enable this.
The EU AI Act: world-first, first-step

consumer studies in the world in 2023 with
over 43,000 music fans across 26 countries SUPPORT MUSIC’S
legislation
The European Union has adopted legislation
that regulates the development and use of AI
Authorisation for the use of music was seen as
extremely important COMPETITIVE
and represents an important step forward for AI
governance and its responsible and sustainable
development. For example, it obliges developers of
MARKETPLACE King & Prince photo courtesy of Universal Music Group
generative AI systems to adopt policies to ensure the The music market today is highly
76% 73%
respect of copyright and to be transparent about competitive, and artists have more
the materials they have used to train their models.
Crucially, these obligations will apply to models
placed on the EU market regardless of where they have
choice than ever before in how they
create and deliver their music to fans
worldwide. Artists who choose to partner
PROTECT CREATORS’ CONTENT
been developed in order to prevent them from gaining with a record label do so to benefit from To prevent further infringements to their rights, effective enforcement
felt that an artist’s work agreed that an AI system
a competitive advantage by training somewhere with the label’s resources, experience and measures and procedures are needed to ensure that rightsholders can
should not be used without should clearly list the music
lower copyright standards. expertise, and draw on their creative take swift and effective action when their works or recordings have
their permission. it has used.
input, global networks, and analytics been used without permission.
and marketing capabilities. Through
these partnerships, artists develop new This includes measures against the operators of infringing services and
creative and commercial opportunities against intermediaries that enable the infringing activities by providing
that can lead to further success. access, infrastructure and monetisation tools to infringing services. For
Cornerstones to example, mobile app store providers must step up in their efforts to stop
a thriving music The increasingly competitive environment
has directly benefited artists. An IFPI study
the increasing incidence of infringements via the apps that are available
in their stores.
ecosystem shows that record companies’ payments Additionally, as the internet is borderless, the availability of effective
to their artists increased by 96% between cross-border measures is crucial. Governments should ensure that

2016 and 2021. law enforcement authorities have adequate resources and expertise
RECOGNISE Policymakers should support a

competitive marketplace where artists
and their commercial partners are free
to effectively pursue criminal actions against perpetrators in the most
serious cases.
Authorities must have the authority to order intermediaries, such
MUSIC’S VALUE to develop new partnerships that enable

them to increase revenue from existing
sources and generate revenue from new
as internet access providers, to block access to infringing or fraudulent
online services. This is now established practice in a growing number of
places from India to Latin America and across the EU.
Music has always had deep cultural and economic ones to the benefit of all parties. Governments should also ensure that internet intermediaries’
value and public policies must ensure that this value immunity from copyright liability (also known as ‘safe harbours’) is
is fully recognised and protected in the marketplace. limited to technical, automatic, and passive intermediaries and comes
This means requiring that anyone who seeks to use with meaningful conditions, including ensuring the expeditious “stay
copyright-protected music on their platform or as down” of notified content and taking credible steps to verify their
part of their service obtains permission from the business customers.
rightsholder before using the music. The breakdown in
Samaria photo by Ryder
this long-established incentive structure would create
significant harm.
Tackling streaming fraud
Streaming fraud involves the creation of artificial to work together to combat streaming fraud and remove
RESPECT THE IMPORTANCE OF ‘plays’ on digital music streaming services that do not
represent genuine listening. This activity constitutes
fraud and damages the fan experience, distorting
incentives for it. Further, global search engines should
delist links to sites that offer artificial interactions (such
as artificial streams) and intermediaries (such as hosting
‘EXCLUSIVE RIGHTS’ IN MUSIC charts and playlists. Its perpetrators are diverting
revenues away from genuine artists whilst making it
harder for new and developing artists to come through.
providers, domain registries/registrars and payment
providers) should not provide services or infrastructure
to these sites. The recording industry also needs the
‘Exclusive rights’ ensure that rightsholders can control the IFPI, on behalf of its member record companies, support of governments and law enforcement agencies
use of their work and earn money from it. Policymakers continues to take legal action against the individuals to take on this issue and recognise the broader impact
increasingly understand the value of rightsholders being behind sites that sell artificial plays which has resulted that streaming fraud is having on the trust in digital
able to choose whether and on what terms to authorise in sites in Brazil, Canada and Germany shutting down. services generally.
the use of their work, which is the foundation for a IFPI will continue to target the most-used services Combatting streaming fraud is essential not only
52
successful licensing market. worldwide. to protect a healthy streaming economy that works for
Governments must uphold not only those More must be done. IFPI welcomes the publicly artists, fans and the industry, but to ensure a healthy
exclusive rights but also clear copyright liability stated commitment of music services and distributors and trustworthy online environment for all.
Coldplay photo by Sarah Lee
rules with strong enforcement. 53
PHOTO CREDITS
Cover Page 26
Taylor Swift photo by Beth Garrabrant Jon Batiste photo by Emman Montalvan
Rema photo courtesy of John Henry
Dua Lipa photo by Tyrone Lebon Page 38
Zac Bryan photo by Trevor Pavlik Fally Ipupa photo by Emma Birski
Miley Cyrus photo by NOUA UNU Studio
SEVENTEEN photo courtesy of PLEDIS Entertainment Page 46
Karol G photo courtesy of Interscope Geffen A&M Tingly Ted photo courtesy of WMX
SZA photo by Jacob Webster
IVE photo by Choi Na Rang Page 47
GLOBAL MUSIC
Yng Lvcas photo courtesy of Warner Music Mexico Thrive Global event photo courtesy of
Universal Music Group

Page 2
Sir Lucian Grainge photo courtesy of Page 48
REPORT 2024:
Universal Music Group SZA photo by Jacob Webster
Robert Kyncl photo courtesy of Warner Music
Rob Stringer photo by Spencer Heyfron
Konrad von Löhneysen photo by Markus Nass
Page 6
Premium
Taylor Swift photo by Beth Garrabrant Edition
Page 7
SEVENTEEN photo courtesy of PLEDIS Entertainment
Stray Kids photo courtesy of Republic Records The Global Music Report 2024: The report includes country-level revenue data for
Drake photo courtesy of Republic Records Premium edition is the definitive 58 markets as well as indepth insights and analysis
The Weeknd photo by Brian Ziff of all major regions and consumption formats
Morgan Wallen photo by Ryan Smith source of data for the recorded along with a review of the biggest artists, albums
TOMORROW X TOGETHER photo courtesy of music industry. It includes the most and tracks of the year.
BIGHIT MUSIC complete and reliable picture of
NewJeans photo courtesy of NewJeans
Bad Bunny photo by Eric Rojas global recorded music revenues For further information visit
Lana Del Rey photo by Neil Krug sourced directly from IFPI’s record
company members worldwide and gmr.ifpi.org
verified using IFPI’s global network
of country-level national group
members. Detailed consumption
data is leveraged from charts
provider partners to enable IFPI to
provide the most accurate view of
54
the global music market.
55
IFPI is the voice of the recording industry worldwide,
representing over 8,000 record company members across
the globe. We work to promote the value of recorded music,
campaign for the rights of record producers and expand the
commercial uses of recorded music around the world.

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C REPO RT

“In the midst of all the technological

State of the Industry

DEFINE AND SHAPE MUSIC IN ALL ITS

State of the Industry

IFPI: Representing the recording industry worldwide

4 Jung Kook photo courtesy of BIGHIT MUSIC 5

State of the Industry

Global subscription Global subscription

FLOWERS LA BEBE FML ISTJ

State of the Industry

KILL BILL LAST NIGHT ONE THING AT A TIME SEVENTEENTH HEAVEN

DIE FOR YOU ANTI-HERO MIDNIGHTS ROCK-STAR

AS IT WAS SEVEN FEAT. LATTO 1989 (TAYLOR’S VERSION) UTOPIA

Source: IFPI Source: IFPI

THE GROWTH OF THE

recorded music market was worth US$28.6 0.7- 0.9

State of the Industry

ERV TOTAL STR

10 Shakira photo by Jaume De Laiguana

streaming in 2023 (up 10.4% to US$19.3 billion) was the key

State of the Industry

+9.5% Revenues from performance rights – the use of recorded

DOWNLOADS AND OTHER DIGITAL

-2.6% The only format to experience a decline in 2023, revenues

12 revenues from the use of recorded music in advertising, film,

The third largest market globally,

State of the Industry

14 contributing 77.0% of regional revenues

RECORD COMPANIES ARE THE LEADING INVESTORS IN MUSIC

US$ 7.1bn US$3.2bn US$3.9bn

State of the Industry

Tunji Balogun, Chairman and

trust level is really high then both the

they’re going to feel that synergy. That’s the

State of the Industry

and incredible music their music, is something that happens at

BTS photo courtesy of BIGHIT MUSIC

State of the Industry

CUTTING THROUGH THE NOISE

an audience and build a fanbase has never

State of the Industry

working properly and being developed in

State of the Industry

State of the Industry

OW T LATIN AMERICA gathers pace...

G R Latin America continues to stand out

appeal: “I think maybe other places in

America by now in terms of growth and

excitement, but it just keeps accelerating.

which just adds to the story and feeds

across the region. And then you have the

State of the Industry

and genres exploding out of individual

markets, especially Mexico in this last year

“As that volume grows, one of our

into play more than ever before, and that

and engage with fans in a consistent