{"id":159422,"date":"2025-05-19T12:13:26","date_gmt":"2025-05-19T16:13:26","guid":{"rendered":"https:\/\/www.cyberlego.com\/web\/2025\/05\/19\/billboards-2025-global-power-players-revealed\/"},"modified":"2025-05-19T12:13:26","modified_gmt":"2025-05-19T16:13:26","slug":"billboards-2025-global-power-players-revealed","status":"publish","type":"post","link":"https:\/\/www.cyberlego.com\/web\/2025\/05\/19\/billboards-2025-global-power-players-revealed\/","title":{"rendered":"Billboard\u2019s 2025 Global Power Players\u00a0Revealed"},"content":{"rendered":"<p><!-- no image --><\/p>\n<div><!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tRecorded music is a small but mighty sector\u201d of the world\u2019s business, IFPI CEO Victoria Oakley said as she introduced the organizations\u2019s annual report in March. \u201cIt\u2019s a part of the global economy that really matters. Above all, it\u2019s a powerful example of human artistry and connectivity.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOakley quantified the impact of that artistry with a report full of good news \u2014 mostly. The recorded-music business worldwide grew for the 10th consecutive year, despite concerns raised by generative artificial intelligence (AI) using copyright-protected music to train its systems.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tTotal recorded-music revenue climbed to $29.6\u00a0billion in 2024, a rise of 4.8% on the previous year, with streaming revenue surpassing $20\u00a0billion for the first time, representing just under 70% of global recorded-music sales, according to IFPI\u2019s Global Music Report 2025. Similarly, CISAC in October reported that global royalty collections for song rights holders grew 7.6% in the previous year. In the concert industry, Live Nation\u2019s adjusted operating income rose 14% in 2024.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cToday, we celebrate not just these results and these phenomenal artists, but also the amazing hard work that goes into making it happen behind the scenes,\u201d Oakley said.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThose working behind the scenes are celebrated here, on <em>Billboard<\/em>\u2019s Global Power Players list.<\/p>\n<div class=\"injected-related-story \/\/ lrv-u-margin-tb-2 lrv-u-border-t-1 lrv-u-border-b-1 lrv-u-padding-t-050 lrv-u-padding-b-075 lrv-u-border-color-grey\">\n<div class=\"a-heading-border a-heading-border-background-color-grey a-heading-border-height-075 lrv-u-margin-b-075 lrv-u-margin-b-050@mobile-max\">\n<h3 id=\"title-of-a-story\" class=\"c-title  lrv-u-color-brand-primary a-font-primary-bold-s lrv-u-text-transform-uppercase lrv-u-padding-r-1 a-article-related-module-title a-article-related-module-title--color-brand-primary\">\n<p>\t\t\t\t\tRelated\t\t<\/p>\n<\/h3><\/div>\n<div class=\"o-card lrv-u-flex\">\n<p>\t\t\t<a tabindex=\"0\" href=\"https:\/\/www.billboard.com\/p\/music-industry-40-under-40-list-2025\/\" class=\"lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover\"><\/p>\n<div class=\"o-card__image-wrap lrv-u-flex-shrink-0 u-flex-basis-144 u-flex-basis-96@mobile-max\">\n<div class=\"c-lazy-image  lrv-u-height-100p\">\n<div class=\"a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p\">\n<p>\t\t\t\t\t\t<img decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/Billboard-40-Under-40-2025-featured.jpg?w=237&amp;h=147&amp;crop=1\" data-lazy-src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/Billboard-40-Under-40-2025-featured.jpg?w=237&amp;h=147&amp;crop=1\" alt=\"Billboard Global Power Players List 2025: Revealed\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"\" width=\"\"><\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max\">\n<div class=\"o_category \">\n\t\t\t\t\t<\/div>\n<div class=\"c_title \">\n<h3 id=\"title-of-a-story\" class=\"c-title  a-font-primary-medium-m lrv-u-padding-b-050 u-letter-spacing-0028@mobile-max\">\n<p>\t\t\t\t\tMusic Industry 40 Under 40: Executives &amp; Power Players\u00a02025\t\t<\/p>\n<\/h3><\/div>\n<p><time class=\"c-timestamp  a-font-primary-medium-xxs lrv-u-color-brand-primary lrv-u-order-100\" datetime=\"00:00-YY-DD-MM\"><br \/>\n\t05\/15\/2025<br \/>\n<\/time><\/p><\/div>\n<p>\t\t<\/a><\/p>\n<\/div><\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tNominated by their firms and peers and chosen by our editors from selected industry sectors, these executives have primary responsibility for markets outside the United States, which account for some 60% of the world\u2019s recorded-music revenue.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThey work where the action is \u2014 or at least, the greatest growth. While the United States held its place as the No.\u00a01 recorded-music market in the world, its revenue increased only 2.2% in 2024, compared with 7.2% in 2023.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tJapan, still the world\u2019s second-largest recorded-\u00admusic market, was flat in 2024. But among the world\u2019s remaining top\u00a010 markets, IFPI reports rates of growth in the United Kingdom (up 4.9%), Germany (up 4.1%), China (up 9.6%), France (up 7.5%), Canada (up 1.5%), Brazil (up 21.7%) and Mexico, the top\u00a010 market where its revenue increased 15.6%. (South Korea was down 5.7%.)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn other regions, recorded-music growth has been even more dramatic. Latin America experienced growth of 22.5%. The Middle East and North Africa, which are almost entirely dominated by streaming, had music sales grow 22.8%, and sub-Saharan Africa recorded a 22.6% rise in revenue to surpass $100\u00a0million for the first time, albeit from a modest baseline. Just as the rise of file-sharing dramatically cut the fortunes of the music industry at the turn of the 21st\u00a0\u00adcentury, today, executives nervously watch the rise of another technology \u2014 generative AI \u2014 due to its potential and its threat to copyright. Many of the executives profiled in this list cite AI as the biggest issue facing the industry.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIFPI\u2019s presentation in London took place against the backdrop of a campaign in the United Kingdom to oppose proposed changes by the government to copyright law that, if implemented, could let AI developers freely use creators\u2019 content to train their algorithms, unless rights holders \u201copt out.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cWe are asking policymakers to protect music and artistry,\u201d Oakley said in a statement accompanying the Global Music Report. \u201cWe must harness the potential of AI to support and amplify human creativity, not to replace it.\u201d<\/p>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Music Groups: Global<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Fred Gillham<br \/><\/strong><em>Managing director, U.K. and Europe, Concord Label Group<br \/><\/em><strong>Rebecca Berman<br \/><\/strong><em>Senior vp of international, Concord Label Group, Concord<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIt\u2019s hard to top the success of breakout star Tommy Richman\u2019s \u201cMillion Dollar Baby.\u201d Concord\u2019s Berman says the <a href=\"https:\/\/www.billboard.com\/charts\/billboard-global-200\/\" target=\"_blank\" rel=\"noreferrer noopener\">Billboard Global\u00a0200<\/a> chart-topping smash that also was a massive hit on TikTok and global radio \u201cwas a huge achievement for both Richman and Concord,\u201d after its initial U.S. release through ISO Supremacy and Pulse Music Group. In addition, she says that the continued expansion of Concord\u2019s global marketing network has contributed to the label group\u2019s growing prowess around the world. \u201cWe have expertise in every major market in the world,\u201d she says, \u201cdedicated to executing globally minded campaigns to reach fans everywhere and find new audiences.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe changing nature of how audiences consume and how difficult it can be to find your engaged audience. These changes are emphasized further with the globalized nature of the music industry, where platforms, DSPs [digital service providers], etc., may be different from country to country or region to region,\u201d Berman says. \u201cBlanket approaches to international marketing are ineffective.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Adam Granite<br \/><\/strong><em>CEO, Africa, the Middle East and Asia<br \/><\/em><strong>Michelle Teh<br \/><\/strong><em>Senior vp of global classics and jazz, Universal Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tGranite sees \u201cour growth across Greater China, India, the Middle East, Southeast Asia and Africa through \u00adorganic A&amp;R success\u201d as being among the highlights of the past year for UMG. He also cites \u201cthe expansion of our distributed label business in partnership with Virgin and our continued merger and acquisition focus.\u201d However, he adds that finding \u201cthe appropriate monetization for real engagement\u201d could challenge growth going forward. Granite also spent valuable time over the past year community\u00adbuilding, including visiting Dharavi Dream Project\u2019s After School of Hip-Hop in Mumbai, India, a partnership involving UMG that provides youth outlets for artistic expression utilizing hip-hop culture.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cExciting,\u201d Granite says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Celine Joshua<br \/><\/strong><em>Executive vp of global marketing<br \/><\/em><strong>Johannes von Schwarzkopf<br \/><\/strong><em>Chief strategy officer, BMG<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBMG reported in March that it generated 963\u00a0million \u00adeuros ($1\u00a0billion) in revenue in 2024, marking a 6.4% increase over the previous year, with major wins coming from artists like country superstar Jelly Roll and rap hit-maker Mustard. Von Schwarzkopf considers the successful execution of the company\u2019s BMG Next strategy to be a big factor in its recent success: \u201cIn the last 12 months, we\u2019ve built global teams in recorded catalog, sales and marketing to better support our artists and songwriters worldwide, while also strengthening our local artist career teams where proximity to the market matters,\u201d he says. \u201cBy working collaboratively across borders, our teams are strengthening our international business relationships, improving our service to artists and songwriters and positioning BMG for sustainable growth.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cOpportunity,\u201d von Schwarzkopf says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Melissa Thomas<br \/><\/strong><em>Executive vp of international marketing for U.S. repertoire<br \/><\/em><strong>Wouter Jansen<br \/><\/strong><em>Senior vp of international marketing, digital and commercial strategy<br \/><\/em><strong>Naoise Ryan<br \/><\/strong><em>Vp of international marketing, Columbia Records, Sony Music Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSony\u2019s international team recently worked on campaigns for Beyonc\u00e9\u2019s <em>Cowboy Carter<\/em>; Tyler, The Creator\u2019s <em>Chromakopia<\/em>; and both Future\u2019s collaborative albums with Metro Boomin, <em>We Don\u2019t Trust You<\/em> and <em>We Still Don\u2019t Trust You<\/em>, and solo release <em>Mixtape Pluto<\/em>. They also marketed multiple singles from SZA\u2019s <em>SOS Deluxe: LANA<\/em> ahead of her headlining slots at Glastonbury and London\u2019s BST Hyde Park festivals in the United Kingdom. The Sony team also worked on campaigns for Travis Scott, Tyla, PartyNextDoor and Addison Rae, as well as Blackpink stars Lisa and Jennie. Sony Music\u2019s key to success, Thomas says, is that \u201call of our campaign highlights from the past 12 to 18 months have had one through line: fan strategy.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cCompetitive \u2014 in the best way possible,\u201d Thomas says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Eric Wong<br \/><\/strong><em>President of EastWest Records\/head of global A&amp;R<br \/><\/em><strong>Jessica Keeley-Carter<br \/><\/strong><em>Chief marketing officer<br \/><\/em><strong>Tony Corey<br \/><\/strong><em>Senior vp of global marketing<br \/><\/em><strong>Zac Froud<br \/><\/strong><em>Vp of global marketing, Warner Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWMG\u2019s global teams have \u201ccollaborated to secure standout results across key markets\u201d for its rising stars, according to Keeley-Carter. Blackpink\u2019s Ros\u00e9 charted in the top\u00a010 in more than 10 countries and has spent 19 weeks at No.\u00a01 on <em>Billboard<\/em>\u2019s <a rel=\"noreferrer noopener\" target=\"_blank\" href=\"https:\/\/www.billboard.com\/charts\/billboard-global-excl-us\/\">Global Excl.\u00a0U.S.<\/a> chart with \u201cAPT.\u201d with Bruno Mars. Teddy Swims\u2019 recent album, <em>I\u2019ve Tried Everything but Therapy (Part\u00a02)<\/em>, hit No.\u00a01 on the Australian Recording Industry Association chart; Benson Boone\u2019s single \u201cSorry I\u2019m Here for Someone Else\u201d reached Spotify charts in 30 different markets; and Alex Warren\u2019s \u201cOrdinary\u201d hit No.\u00a01 on the Official Singles Chart in the United Kingdom.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cNoisy,\u201d Keeley-Carter says. \u201cWe\u2019re here to help our artists rise above it and make their mark.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-rose-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Ros\u00e9\" class=\"wp-image-1235971624\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-rose-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-rose-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Blackpink\u2019s ROS\u00c9 has spent 19 weeks atop the Global Excl. U.S. chart with \u201cAPT.\u201d with Bruno Mars.<\/figcaption><\/figure>\n<\/div>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Music Groups: Canada<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Julie Adam<br \/><\/strong><em>President\/CEO, Universal Music Canada<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAccording to Universal Music Canada, it released the top seven of the 10 best-performing albums of 2024 thanks to Post Malone, Billie Eilish, Sabrina Carpenter, The Weeknd, Morgan Wallen, Noah Kahan and Taylor Swift. \u201cWe anchored and supported each project with Canada-specific campaigns, content and fan events,\u201d Adam says. \u201cOur domestically signed acts continue to impact international markets. Rising pop star Sofia Camara is exploding in the U.K., country breakout Josh Ross continues to climb the charts in the U.S. and beyond, comedian turned singer-songwriter Mae Martin released their debut album, Owen Riegling is breaking out with national brand partnerships, and Punjabi super-producer thiarajxtt is driving artist discovery with fans from South Asia to Canada.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cArtists. All that we do is for, about and in support of artists.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Kirsten Burke<br \/><\/strong><em>President, Warner Music Canada<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cOne of Warner Music Canada\u2019s biggest success stories this past year was the extension of our partnership with Karan Aujla,\u201d Burke says, noting the extended joint venture between Warner Music Canada and Warner Music India. \u201cAs the most streamed Punjabi artist on Spotify worldwide in 2024, Karan\u2019s influence is undeniable,\u201d says Burke, who adds that the Indian rapper is known for constantly evolving and pushing the boundaries of both Punjabi and global music. \u201cWe kicked off the year with the release of \u2018Tell Me,\u2019 a dynamic Punjabi-English collaboration with OneRepublic. The song quickly charted in Canada, [the United Arab Emirates], Australia, New Zealand, the U.K., Pakistan and India, further underscoring his global appeal.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe impact of AI on creativity, rights management and artist compensation.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Shane Carter<br \/><\/strong><em>President, Sony Music Entertainment Canada<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cI am honored to be part of the team who brought C\u00e9line Dion\u2019s deeply personal, moving story to the world in the documentary <em>I\u00a0Am: C\u00e9line Dion<\/em>,\u201d says Carter, who worked as an executive producer alongside teams at Sony Music Canada, Sony Vision and several global partners to bring the film to life. \u201cEveryone involved in this project was so talented and 100% committed to the collaboration required to tell C\u00e9line\u2019s story with sensitivity and authenticity. It was a highlight of the year \u2014 and also my career.\u201d The journey culminated in Dion\u2019s powerful return to the stage at the opening ceremonies for the 2024 Summer Olympics in Paris.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cWe work alongside artists to build their audience authentically over time. This requires \u00addeeper collaboration across teams and innovative, strategic campaigns that truly connect. It\u2019s a challenge \u2014 but also an exciting opportunity to match artists\u2019 creativity with bold new ways to share their music with the world.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1548\" height=\"1024\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-celine-dion-billboard-2025-bb07-1548.jpg?w=1024\" alt=\"Players, Global Power Players 2025, C\u00e9line Dion\" class=\"wp-image-1235971625\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-celine-dion-billboard-2025-bb07-1548.jpg 1548w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-celine-dion-billboard-2025-bb07-1548.jpg?resize=300,198 300w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-celine-dion-billboard-2025-bb07-1548.jpg?resize=942,623 942w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Sony Music Entertainment Canada president Shane Carter was part of the team that helped create <em>I Am: C\u00e9line Dion<\/em>, the documentary that celebrated international icon C\u00e9line Dion.<\/figcaption><\/figure>\n<\/div>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Music Groups: Europe, Middle East &amp; Africa<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Frank Briegmann<br \/><\/strong><em>Chairman\/CEO, Universal Music Central Europe and Deutsche Grammophon<br \/><\/em><strong>Olivier Nusse<br \/><\/strong><em>CEO, Universal Music France and Universal Music Africa (French-speaking)<br \/><\/em><strong>Patrick Boulos<br \/><\/strong><em>CEO, Universal Music Group Middle East and North Africa<br \/><\/em><strong>Franck Kacou<br \/><\/strong><em>Managing director, Universal Music Africa<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIt was a banner year for UMG throughout Africa and Europe, particularly in Germany, where half of the top\u00a010 albums on the year-end 2024 charts belonged to UMG, and the company held six places among the top\u00a010 most streamed music artists. \u201cWe are also very proud that we have been able to break six domestic artists,\u201d Briegmann says. Deutsche Grammophon artists were No.\u00a01 on the German classical chart in 10 out of 12 months in the last year. In Italy, UMG landed six of the top\u00a010 albums on the year-end 2024 chart, while UMG albums were No.\u00a01 in the Netherlands for 33 out of 52 weeks. For Nusse, Stromae\u00a0&amp; Pomme\u2019s \u201cMa Meilleure Ennemie,\u201d which was featured in the <em>Arcane<\/em> TV series, became a global success with nearly 470\u00a0million streams, \u201c85% of which came from international markets,\u201d he says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cArtist-centric,\u201d Nusse says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Tony Harlow<br \/><\/strong><em>CEO, Warner Music U.K.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tFrom his post leading Warner Music in London, Harlow has supported Warner Music Group developments, including the overall reorganization of the company and the restructuring of its leadership in Europe, the Middle East and Africa. Both changes \u201chave opened new doors for us,\u201d he says. \u201cThe return of Warner Records U.S. and Atlantic Records U.S. as a repertoire powerhouse has hugely helped us,\u201d Harlow says, giving a shoutout to the executives guiding those companies who have helped drive the global success of U.K. artists including Charli\u00a0xcx and Coldplay.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cPessimism. If you talk yourself down, guess where you will end up?\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jason Iley<br \/><\/strong><em>Chairman\/CEO, Sony Music U.K. and Ireland, Sony Music Entertainment U.K.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIley and his Sony team are celebrating the success that Myles Smith and Central Cee are having \u201cat a global level,\u201d he says. Cee\u2019s debut album, <em>Can\u2019t Rush Greatness<\/em>, hit No.\u00a09 on the <a href=\"https:\/\/www.billboard.com\/charts\/billboard-200\/\" target=\"_blank\" rel=\"noreferrer noopener\">Billboard\u00a0200<\/a>. Meanwhile, Smith, who signed to RCA on Christmas Eve in 2023, won the BRIT Awards\u2019 Rising Star honor in March, and his track \u201cStargazing\u201d topped the <a href=\"https:\/\/www.billboard.com\/charts\/alternative-airplay\/\" target=\"_blank\" rel=\"noreferrer noopener\">Alternative Airplay<\/a> chart. \u201cBeyond chart success,\u201d Iley says, \u201cI\u2019m really pleased to see results from the holistic work we\u2019ve put into strengthening our business,\u201d with a focus on employee wellness and an award-\u00adwinning childcare policy. Such initiatives, he adds, \u201cdemonstrate the importance of listening \u2014 listening to what our artists and people need from us in order to succeed.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cAI is a global issue and one that we are at the forefront of in the U.K. We have been working to help the government understand the implications of their proposed copyright reforms [that would] present a serious threat to our artists and their work.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Daniel Lieberberg<br \/><\/strong><em>President of continental Europe and Africa, Sony Music Entertainment<br \/><\/em><strong>Christoph Behm<br \/><\/strong><em>CEO, Sony Music Entertainment Germany, Switzerland and Austria<br \/><\/em><strong>Marie-Anne Robert<br \/><\/strong><em>Managing director, Sony Music Entertainment France<br \/><\/em><strong>Sean Watson<br \/><\/strong><em>Managing director, Sony Music Entertainment Africa<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cIt\u2019s been a great year, with a series of successes for our local and international artists thanks to the incredibly hardworking teams across Europe and Africa,\u201d says Lieberberg, who oversaw Sony\u2019s growth in Greece and the Czech Republic through acquisitions, including Supraphron, the latter country\u2019s longest-established record label. In Germany, Sony \u201cdelivered a global viral feat\u201d thanks to Raffaella Carr\u00e0, Jaxomy and Agatino Romero\u2019s collaboration, \u201cPedro.\u201d Sony also opened the recording complex ONE Studios in Amsterdam. Artist Shiva set records in Italy by earning 100\u00a0million streams in a week, and Sony established a presence in Accra, Ghana, thanks to a partnership with Crux Global.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music industry today in a word:<\/strong> \u201cCulture-driven,\u201d Lieberberg says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Alistair Norbury<br \/><\/strong><em>President of U.K., Europe and Asia-Pacific<br \/><\/em><strong>Levy Isabella<br \/><\/strong><em>Managing director of Benelux and Scandinavia, BMG<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBMG enjoyed a variety of European wins in 2024, with top five debuts on the United Kingdom\u2019s Official Albums Chart for bands Soft Play, Travis and The Script, as well as No.\u00a01 bows for British indie-pop band Blossoms and global pop legend Kylie Minogue, whose <em>Tension<\/em> also topped charts in Scotland and Belgium. Norbury cites the most significant recent developments of BMG delivering its repertoire directly to digital platforms (while moving physical distribution to Universal) and dabbling in related fields like film and literature. \u201cWe are fully focused on being a global music publisher and recordings business,\u201d he says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cFair compensation for artists and songwriters in relation to streaming platforms,\u201d Norbury says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Simon Robson<br \/><\/strong><em>President, Europe, the Middle East and Africa recorded music, Warner Music Group<br \/><\/em><strong>Pico Cibelli<br \/><\/strong><em>President, Warner Music Italy<br \/><\/em><strong>Fabian Drebes<br \/>Doreen Schimk<\/strong><br \/><em>Co-presidents, Warner Music Central Europe<br \/><\/em><strong>Mark Fry<br \/><\/strong><em>President, Warner Music Nordics<br \/><\/em><strong>Alain Veille<br \/><\/strong><em>President, Warner Music France<br \/><\/em><strong>Niels Walboomers<br \/><\/strong><em>President of records and publishing, Benelux, Warner Music Group<br \/><\/em><strong>Temi Adeniji<br \/><\/strong><em>Managing director, Warner Music Africa<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWarner Music\u2019s teams in Europe, Africa, Asia and beyond emphasize \u201ccross-cultural collaborations,\u201d Robson says. These include 91\u00a0North Records, a joint venture between the label\u2019s India and Canada outposts, which Robson says had \u201cstrong success\u201d in breaking rapper AR\u00a0Paisley, Punjabi hip-hop lyricist Chani Nattan and Punjabi-focused producer Gminxer, all of whom are Canadian. Warner Music India and Warner Music Canada have also been working together with Karan Aujla and recently released \u201cTell Me\u201d with OneRepublic. WMG also launched an Africa Francophone brand emphasizing French-speaking sub-Saharan African artists. \u201cWe also recently incorporated Warner Music U.K. into our EMEA [Europe, Middle East and Africa] structure to help further boost creative collaborations and align our artist campaigns,\u201d he says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cRecent IFPI figures showed that global industry growth [in key markets] slowed last year,\u201d Robson says. \u201cThat means we must be even more focused on innovation, creativity and strategic deal-\u00admaking to ensure sustainable growth for the future.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Dickon Stainer<br \/><\/strong><em>Chairman\/CEO, Universal Music U.K.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cI would like to highlight the incredible work of our U.K. teams, working with our global partners to put great British artistry back at the heart of international culture \u2014 in the shape of Lola Young, Sam Fender, The Last Dinner Party and Olivia Dean,\u201d Stainer says, \u201cand to prove the lasting value of our labels to long-term artist career-building and storytelling on a global scale.\u201d Stainer was named to lead Universal Music U.K. in September 2024, following a long career at UMG, most recently as president\/CEO of UMG\u2019s global classics and jazz division. He oversees divisions including Island EMI Label Group, Polydor Label Group, Decca Records and the recently formed Audience and Media Division, as well as Abbey Road Studios.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cTo be compelling and relevant to audiences who are bombarded with noise and distraction.\u201d<\/p>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Music Groups: Latin<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Alejandro Duque<br \/><\/strong><em>President, Warner Music Latin America<br \/><\/em><strong>Guillermo Gonz\u00e1lez Ar\u00e9valo<br \/><\/strong><em>President, Warner Music Iberia<br \/><\/em><strong>Leila Oliveria<br \/><\/strong><em>President, Warner Music Brazil<br \/><\/em><strong>Tomas Rodriguez<br \/><\/strong><em>President, Warner Music Mexico and Mexican Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWarner\u2019s regional approach in the last year has focused on new artist development across the board. Argentine artist Yami Safdie\u2019s track \u201cEn Otra Vida\u201d charted in over 20 countries; Venezuela\u2019s Elena Rose not only broke out in multiple countries, but her \u201cCaracas en\u00a0el 2000\u201d became an anthem in her home country; Danny Ocean\u2019s \u201cImag\u00ednate\u201d soared on Spotify\u2019s global charts; and Colombia\u2019s Blessd amassed millions of monthly listeners. Warner also struck deals with Puerto Rico\u2019s CLARENT, Dominican provocateur Tokisha and partnerships with label Street Mob Records that include rising regional Mexican artists like Armenta, Clave Especial and Calle\u00a024. Warner Music Brazil opened a new headquarters and a creative hub in Rio de Janeiro, together with Warner Chappell Music Brazil and ADA Brazil. \u201cWe\u2019ve continued to prove ourselves an instrumental force in developing the voices that are shaping the future of Latin music,\u201d Duque says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cMusic is still extremely undervalued compared with other forms of entertainment,\u201d Duque says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jes\u00fas L\u00f3pez<br \/><\/strong><em>Chairman\/CEO, Universal Music Latin America &amp; Iberian Peninsula<br \/><\/em><strong>Alfredo Delgadillo<br \/><\/strong><em>President\/CEO, Universal Music Mexico<br \/><\/em><strong>Manuel Pe\u00f1a<br \/><\/strong><em>Managing director of Andean, Central America and Caribbean, Universal Music<br \/><\/em><strong>Paulo Lima<br \/><\/strong><em>President, Universal Music Brazil<br \/><\/em><strong>Luis Estrada<br \/><\/strong><em>President of Southern Cone, Universal Music Argentina<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tUniversal Music Group\u2019s focus on artist development resulted in back-to-back best new artist wins at the Latin Grammys in 2023 (Joaquina) and 2024 (Ela Taubert). The company\u2019s global approach was also evident in Colombia\u2019s Feid, who landed in the top\u00a010 of <em>Billboard<\/em>\u2019s <a href=\"https:\/\/www.billboard.com\/charts\/year-end\/top-latin-artists\/\" target=\"_blank\" rel=\"noreferrer noopener\">year-end 2024 Top Latin Artists<\/a> chart, while Karol\u00a0G\u2019s 2023 set, <em>Ma\u00f1ana Ser\u00e1 Bonito<\/em>, was the fourth most streamed album globally on Spotify in 2024. Another Colombian, Morat, wrapped a 24-date stadium tour; in Brazil, UMG\u2019s artists included chart-toppers Felipe\u00a0e Rodrigo, Lauana Prado and Henriquez\u00a0&amp; Juliano; and in Spain, Lola \u00cdndigo was Spotify\u2019s top female artist for 2024.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cKeeping the artist-centric model to protect the rights of artists, composers and music workers, as well as fair reward for real artists and real music,\u201d L\u00f3pez says.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-feid-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Feid\" class=\"wp-image-1235971626\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-feid-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-feid-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Colombia\u2019s Feid landed in the top 10 of <em>Billboard<\/em>\u2019s year-end 2024 Top Latin Artists chart.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Afo Verde<br \/><\/strong><em>Chairman\/CEO<br \/><\/em><strong>Maria Fern\u00e1ndez<br \/><\/strong><em>Executive vp\/COO, Sony Music Latin-Iberia<br \/><\/em><strong>Fernando Cabral<br \/><\/strong><em>CEO\/executive vp of ticketing operations, Latin America, Sony Music Entertainment Brazil<br \/><\/em><strong>Juan Alfonso Sanchez<br \/><\/strong><em>Senior vp\/CFO, Sony Music Latin-Iberia<br \/><\/em><strong>Jose Maria Barbat<br \/><\/strong><em>President, Sony Music Iberia<br \/><\/em><strong>Melissa Exposito<br \/><\/strong><em>President, Sony Music Latin, Central America and Caribbean<br \/><\/em><strong>Roberto L\u00f3pez<br \/><\/strong><em>President, Sony Music Mexico<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSony had a phenomenal year in Latin music. After leading the <a rel=\"noreferrer noopener\" target=\"_blank\" href=\"https:\/\/www.billboard.com\/charts\/latin-albums\/\">Top Latin Albums<\/a> chart with <em>Las Mujeres Ya No Lloran<\/em>, Shakira\u2019s tour of the same name also made history by ruling Billboard Boxscore\u2019s Top Tours ranking for February (the first for a solo female Latin artist), repeated the feat for March and sold out a record number of stadiums in Mexico City. Rauw Alejandro debuted at No.\u00a01 on the Top Latin Albums chart and No.\u00a06 on the Billboard\u00a0200 with <em>Cosa Nuestra<\/em>, and newcomers Ca7riel\u00a0y Paco Amoroso\u2019s NPR <em>Tiny Desk<\/em> performance was the most successful of 2024, with over 30\u00a0million YouTube views. Other newcomers who crossed the threshold toward stardom include Colombia\u2019s Kapo, Mexico\u2019s Oscar Mayd\u00f3n and Argentina\u2019s Emilia.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201c<em>Un lindo quilombo<\/em> [A nice mess],\u201d Verde says.<\/p>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Music Groups: Australasia<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Andrew Chan<br \/><\/strong><em>Managing director, Greater China, Sony Music Entertainment<br \/><\/em><strong>Vanessa Picken<br \/><\/strong><em>Chair\/CEO, Sony Music Australia and New Zealand<br \/><\/em><strong>Shridhar Subramaniam<br \/><\/strong><em>President of corporate strategy and market development in Asia and the Middle East, Sony Music Entertainment<br \/><\/em><strong>Vinit Thakkar<br \/><\/strong><em>Managing director, India, Sony Music Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSony Music\u2019s operations in Australasia scored several big wins in the past 18 months. It acquired DRM New Zealand for The Orchard. The Australia-New Zealand division of the merchandising company Ceremony of Roses expanded operations in the Asia Pacific region and is now working with over 30 international tours. The company created Sony Music Masterworks Australia and New Zealand, a live-music and experiential division of SME that successfully staged Lightscape, Dark Spectrum and Jurassic World Exhibition, as well as a sold-out film\/orchestral performance of <em>Avatar: The Last Airbender<\/em>. Sony also signed Angus\u00a0&amp; Julia Stone, Gang of Youths and Sydney electronic trio Mansionair.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cTo thrive in today\u2019s diverse and decentralized music landscape,\u201d Picken says, \u201cartists and companies must adapt, embrace emerging technologies and build stronger, more direct connections with their audiences.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Chris Gobalakrishna<br \/><\/strong><em>COO, Warner Music Asia; CFO, Asia Pacific, recorded music, Warner Music\/Recorded Music<br \/><\/em><strong>Dan Rosen<br \/><\/strong><em>President of records and publishing, Australasia, Warner Music Group\/Recorded Music and Publishing<br \/><\/em><strong>Jay Mehta<br \/><\/strong><em>Managing director, Warner Music India and South Asian Association for Regional Cooperation<br \/><\/em><strong>Brayden Crossley<br \/><\/strong><em>Senior vp of marketing, Warner Music Asia, Warner Music\/Recorded Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cWarner Music Australasia lives by its goal,\u201d Rosen says, \u201cto take our local artists global and make our global artists local.\u201d Among the success stories are New Zealand band Balu Brigada, which hit No.\u00a01 on the Alternative Airplay chart in the United States with its track \u201cSo Cold\u201d and is touring the world with Twenty One Pilots. Recent Australian signing Esha Tewari is already selling out shows for her first U.S. solo tour, and Oliver Cronin has had many of his tracks go viral across the world, including in India, the Philippines and Germany. Australia and New Zealand are also breakout markets for Teddy Swims, Benson Boone, Maisie Peters and Charli\u00a0xcx, according to Rosen.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cAs an industry,\u201d Rosen says, \u201cwe need to harness the benefits of technology and minimize the potential harms to ensure value is returned to our artists, songwriters and rights holders.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"886\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-balu-brigada-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Balu Brigada\" class=\"wp-image-1235971627\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-balu-brigada-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-balu-brigada-billboard-2025-bb07-1240.jpg?resize=300,214 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">New Zealand duo Balu Brigada reached No. 1 in March on Alternative Airplay with \u201cSo Cold\u201d and is touring the world with Twenty One Pilots.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Matt Gudinski<br \/><\/strong><em>CEO, Mushroom Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAs costs rise across the music ecosystem, creating new business challenges, Mushroom Group keeps evolving. Led by Gudinski, the Melbourne, Australia, independent music company saw one of its \u201cmost significant achievements\u201d in 2024 by consolidating its rights companies under the Mushroom Music banner, including recording, publishing and neighboring rights activities. \u201cAdditionally, we\u2019ve experienced substantial international growth across the Mushroom Group,\u201d Gudinski says, \u201creinforcing our position as a dynamic, forward-thinking company that continues to evolve alongside the ever-changing music industry.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cCompetitive, but it\u2019s an exciting time as we enter a new generation where more people than ever are immersed in music.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Katsumi Kuroiwa<br \/><\/strong><em>CEO, Avex<br \/><\/em><strong>Brandon Silverstein<br \/><\/strong><em>CEO, Avex Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe biggest story at Avex this year was the launch of Avex Music Group, a U.S.-based entity led by S10 Entertainment CEO Silverstein that will focus on expanding the global reach of Avex artists and building the company\u2019s publishing portfolio, among other endeavors. That deal includes Avex\u2019s acquisition of S10\u00a0Music Publishing\u2019s song catalog and an additional stake in S10\u00a0Management. Meanwhile, Avex boy band One or Eight reached No.\u00a01 on <em>Billboard Japan<\/em>\u2019s Heatseekers Songs chart with \u201cDon\u2019t Tell Nobody,\u201d while producer-writer Grant contributed to eight tracks on Tate McRae\u2019s 2025 Billboard\u00a0200 chart-topper, <em>So Close to What<\/em>.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cAs the business environment surrounding artists continues to evolve in the global market, it is increasingly important to invest across a wide range of areas,\u201d Kuroiwa says. \u201cIn order to do so, having strong local partner companies is essential.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Cussion Pang<br \/><\/strong><em>Executive chairman<br \/><\/em><strong>Ross Liang<br \/><\/strong><em>CEO, Tencent Music Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cOur company\u2019s music content ecosystem continues to gain vitality,\u201d Pang says. In 2024, TME expanded beyond licensing into music events and artist merchandise. The company also launched three offline events: Tencent Music Entertainment Awards, WaveMusic Awards and QQ\u00a0Music Super Live. Enhancements to its platforms \u2014 QQ\u00a0Music, Kugou Music and Kuwo Music \u2014 helped TME\u2019s subscribers grow 13.4% to 121\u00a0million, including more than 10\u00a0million Super VIP subscribers. \u201cOur dual-\u00adengine content-and-platform strategy [creates] a virtuous cycle of growth,\u201d Liang adds. (TME is a <em>Billboard<\/em> licensee in China.)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Timothy Xu<br \/><\/strong><em>Chairman\/CEO, Universal Music Greater China<br \/><\/em><strong>Calvin Wong<br \/><\/strong><em>CEO, Universal Music Southeast Asia; senior vp of Asia, Universal Music Group<br \/><\/em><strong>Devraj Sanyal<br \/><\/strong><em>Chairman\/CEO, Universal Music India and South Asia; senior vp of strategy, Asia Pacific, Middle East and Africa, Universal Music Group<br \/><\/em><strong>Naoshi Fujikura<br \/><\/strong><em>President\/CEO, Universal Music Japan<br \/><\/em><strong>Sean Warner<br \/><\/strong><em>President, Universal Music Australia and New Zealand<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tGrowth, the expansion of local content and blossoming partnerships are some of the high points of Universal Music\u2019s operations in Asia and Australasia over the past 18 months. Universal Music Japan reported 11 consecutive years of revenue growth. The China business nurtured partnerships with artists such as Jay Chou (the only Chinese-language artist ever to reach No.\u00a01 on IFPI\u2019s Global Albums chart). The India company achieved a global hit with \u201cBig Dawgs\u201d from Hanumankind and Kalmi, and the Australasian affiliate is undergoing changes as well \u2014 part of a mission to break artists on a global stage.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cOne of our biggest challenges in Japan is maintaining the market despite the population decline, especially among younger generations,\u201d Fujikura says. \u201cTo sustain growth, we need to implement strategies that prevent the market from shrinking. Key efforts include expanding the senior user base, increasing revenue per user and developing overseas markets.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-jay-chou-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Jay Chou\" class=\"wp-image-1235971628\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-jay-chou-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-jay-chou-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Universal Music Group China continues its partnership with Taiwanese mando-pop star Jay Chou and his JVR Music label.<\/figcaption><\/figure>\n<\/div>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Streaming<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Gitte Bendzulla<br \/><\/strong><em>COO<br \/><\/em><strong>Nigel Harding<br \/><\/strong><em>Vp of artist relations<br \/><\/em><strong>Pedro Kurtz<br \/><\/strong><em>Director of content and operations, Americas, Deezer<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tHarding says that Deezer remains a pioneer in music streaming; he cites the company\u2019s strides toward fairer remuneration (involving both recording and publishing rights) through Deezer\u2019s Artist Centric Payment System initiative. Deezer is focused on fans, too, with its Deezer Flow wheel that personalizes music recommendations based on users\u2019 tastes and features like the Deezer Shaker and discovery programs including Deezer Next. Plus, it\u2019s offering exclusive live experiences like Purple Door, Listening Sessions and rooftop sessions that provide fans intimate access to artists. \u201cThese innovations combine technology, engagement and exclusivity to create deeper connections between fans, music and artists,\u201d Harding says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe rise of AI-generated content flooding streaming platforms. To address this, Deezer has developed a tool to tag AI-generated content, improving transparency for users and protecting creators\u2019 rights,\u201d Harding says. \u201cWe\u2019ve already discovered that over 10% of the tracks delivered daily to the platform are AI-generated and, to safeguard creators, this content will be excluded from algorithmic recommendations.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Dan Chalmers<br \/><\/strong><em>Director of Europe, the Middle East and Africa, YouTube Music<br \/><\/em><strong>Lizzie Dickson<br \/><\/strong><em>Head of music, YouTube U.K.<br \/><\/em><strong>Sandra Jimenez<br \/><\/strong><em>Head of music for Latin America and U.S. Latin<br \/><\/em><strong>Paul Smith<br \/><\/strong><em>Managing director, Asia Pacific, YouTube Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tReaching a new milestone of 125\u00a0million subscribers to YouTube Music and Premium, the platform\u2019s ad-free video tier, was a highlight of the past year, Chalmers says. \u201cWe added 25\u00a0million in the past year alone, outpacing industry trends and reinforcing our role as a major revenue driver for the music business.\u201d As global subscription growth slowed slightly in 2024, YouTube Music, which \u00adaccounted for 10.1% of the 818\u00a0million subscriptions worldwide, according to MIDiA Research, was the only major subscription service to post accelerated subscriber growth compared with 2023.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cEnsuring that people can turn their artistry into sustainable careers and cut through the clutter,\u201d Chalmers says. \u201cArtists need more than just streams or views; they need a strategy for visibility, engagement and monetization. They need the tools to build deep, lasting connections with fans.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Paul Firth<br \/><\/strong><em>Director of global music industry<br \/><\/em><strong>Roc\u00edo Guerrero<br \/><\/strong><em>Head of music, Latin-Iberia<br \/><\/em><strong>Laura Lukanz<br \/><\/strong><em>Head of music, U.K.<br \/><\/em><strong>John Murphy<br \/><\/strong><em>Head of music, Canada, Amazon Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBuilding on its success in music streaming, Amazon officially integrated \u201cAudible\u2019s unparalleled catalog of audiobooks\u201d into the app for users in the United States, the United Kingdom and Canada before then expanding into Australia, New Zealand and France, Firth says. \u201cThis launch really solidifies our position as an all-audio destination for subscribers across music, podcasts and audiobooks and was my highlight of 2024,\u201d he says. The platform is also trying to help artists get discovered. \u201cIn order to have a thriving music scene, there needs to be a consistent flow of exciting new artists, and they need the opportunity to find audiences around the world,\u201d he adds. \u201cBoth our Breakthrough and Artists To Watch programs are designed to provide this support.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cFan-centric,\u201d Firth says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Georges Fornay<br \/><\/strong><em>Deputy CEO<br \/><\/em><strong>Dan Mackta<br \/><\/strong><em>Managing director of North America and Northern Europe, Qobuz<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tParis-based audiophile streaming service Qobuz achieved significant milestones in the past year, Mackta says, \u201cincluding our expansion into Japan, the launch of the Studio Student plan and Qobuz Connect. With the U.S. now our leading market, Qobuz has solidified its status as a global company. These achievements reflect our commitment to delivering a unique and deep music experience and to strengthen our position as the go-to platform for music lovers and audiophiles worldwide.\u201d In March, Qobuz became the first streaming company to publicly release the per-streaming royalty rate it pays to rate holders. The all-in rate, which covers both recorded music and publishing, works out to $18.73 for every 1,000 streams.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cBuilding a fair and sustainable streaming model that ensures all artists receive proper compensation and have equal opportunities to reach their audience,\u201d Mackta says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Matt Gralen<br \/><\/strong><em>President<br \/><\/em><strong>Sofia Ilyas<br \/><\/strong><em>Chief community officer, The Beatport Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOne of the most significant achievements at Beatport has been the company\u2019s investment in expanding its infrastructure. \u201cBy adding a chief community officer role \u2014my role \u2014 and a dedicated team to focus on fostering community within the electronic music space, we are able to support grassroots organizations that champion \u00addiversity, many of which are volunteer-led and often overlooked despite being a crucial part of the music ecosystem,\u201d IIyas says. The latest recipients of Beatport\u2019s Diversity\u00a0+ Parity Fund include Change the Beat, Last Night a DJ Saved My Life, One Off Traks, Other Village People, Saffron and We Are Moving the Needle.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe industry faces several challenges, but one of the most pressing is how artists navigate their careers in a rapidly changing digital landscape,\u201d Ilyas says. \u201cMany artists today seek more autonomy and direct ways to connect with their fans, but the pressure to constantly engage on social media has become overwhelming.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Emmy Lovell<br \/><\/strong><em>Global head of music<br \/><\/em><strong>Ama Walton<br \/><\/strong><em>Senior vp of content partnerships\/deputy general counsel, SoundCloud<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSoundCloud has partnered with popular club H\u00ef\u00a0Ibiza in Spain \u201cfor a season-long residency that\u2019ll bring James Hype, Meduza and Hannah Laing to one of the biggest stages in electronic music,\u201d Lovell says. \u201cAs H\u00ef\u00a0Ibiza\u2019s first-ever brand partnership in its 10-year history, this is a massive moment that reinforces SoundCloud as a trailblazing platform where global dance music movements are born.\u201d Additionally, Ascending, the artist development program designed to boost upcoming artists, continues to drive real results, with select artists seeing a 60% or more spike in followers. \u201cEnsuring our platform remains a launchpad for emerging talent is something I care deeply about,\u201d Lovell adds, \u201cand with these milestones, we\u2019re making it clear: SoundCloud is the place where artists can break through the noise.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cUnpredictable,\u201d Lovell says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Rachel Newman<br \/><\/strong><em>Global head of editorial and content<br \/><\/em><strong>Anjali Malhotra<br \/><\/strong><em>Global director of classical<br \/><\/em><strong>Juan Paz<br \/><\/strong><em>Global head of Latin music business, Apple Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tApple Music\u2019s global footprint was strengthened by a branding initiative that saw the creation of the Apple Music 100\u00a0Best Albums and by the addition of Tokyo to the company\u2019s Apple Music Studio network. \u201cThis past year has seen us really lean into what we do best,\u201d Newman says. \u201cThe thing that has always differentiated us is our editorial strength across the world.\u201d In constructing the 100 best albums, \u201cwe pulled together an enormous editorial feature that [included] votes from our Apple Music editorial teams across the world,\u201d she adds, \u201cas well as a range of other expert opinions \u2014 musicians, songwriters, producers, managers and music journalists.\u201d As for the Tokyo studio, \u201cJapan is such an important market for us, and bringing an Apple Music Radio studio online there expanded our Apple Music Studio network to seven studio spaces worldwide.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Andy Sloan-Vincent<br \/><\/strong><em>Head of global music programs<br \/><\/em><strong>Manuela Wurm<br \/><\/strong><em>Head of global editorial<br \/><\/em><strong>Kossy Ng<br \/><\/strong><em>Head of music, Southeast Asia, Hong Kong and Taiwan<br \/><\/em><strong>JungJoo Park<br \/><\/strong><em>Head of music, Korea, Spotify<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSpotify has been leaning into superfan communities more, and this past year, the company\u2019s work with South Korean boy band Seventeen illustrates that determination to \u201cbuild deeper connections with their fans around the world,\u201d as Park puts it. That included a first-ever countdown page and listening parties in Indonesia, as well as in-person fan experiences at the group\u2019s shows in Seoul; New York; Tokyo; Manila, Philippines; and Jakarta, Indonesia, among others. \u201cIt was an incredible journey that not only brought fans closer to the group,\u201d Park says, \u201cbut also helped boost their global presence and streaming numbers on Spotify.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cIf we had to sum up the music business today in two words, they\u2019d be \u2018innovative\u2019 and \u2018ever-evolving,\u2019\u00a0\u201d Park says. \u201cThe industry is rapidly embracing new technologies, and we\u2019re seeing a surge in artist-driven content that \u00adpushes creative boundaries.\u201d<\/p>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Labels &amp; Distributors<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Rebecca Allen<br \/><\/strong><em>President, audience and media division, Universal Music U.K.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tUniversal Music U.K. combined its leading labels under Island EMI Label Group and Polydor Label Group last year and launched an audience and media division helmed by Allen to work across artists and labels. She will \u00adcontinue collaborating with some of the acts she aided in her former EMI role alongside Jo Charrington, including English singer Olivia Dean. Allen describes Dean as \u201cthe definition of a world-class artist,\u201d noting, \u201cWe saw just how hard Olivia and her manager, Emily [Braham], worked to connect with audiences beyond the U.K. Her Coachella and Glastonbury moments, for me, were a huge highlight in 2024.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe lack of funding for the arts in schools. Our pipeline of talent into this industry, into the creative industries, will be decimated without a real investment into young people and creativity. The funding crisis for the arts in schools needs to be addressed, and as an industry, we must step up and play a role in this.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Tricia Arnold<br \/><\/strong><em>Executive vp of global artist and label services and sales<br \/><\/em><strong>Prashant Bahadur<br \/><\/strong><em>Executive vp\/head of strategy<br \/><\/em><strong>Chris Manning<br \/><\/strong><em>Managing director, U.K. and Europe, The Orchard<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tEmphasizing The Orchard\u2019s global reach, Arnold points to Japan\u2019s YOASOBI playing pivotal shows in the United States, including appearances at the 2024 Coachella and Lollapalooza festivals and a sold-out Radio City Music Hall gig in New York last August. In addition, Mexican superstar Peso Pluma\u2019s second album, <em>Exodo<\/em>, charted at No.\u00a05 on the Billboard\u00a0200 and No.\u00a01 on the Top Latin Albums chart and had the biggest ever debut for a Mexican artist on Spotify. The Orchard also celebrated the No.\u00a020 debut on the Billboard\u00a0200 for Mexico\u2019s Tito Double\u00a0P\u2019s <em>Incomodo<\/em> (the album later peaked at No.\u00a011), BINI becoming the first Filipino winner of best Asia act at the MTV Europe Music Awards and British singer RAYE winning six BRIT Awards, scoring three Grammy noms and putting on show-\u00adstopping performances at the Grammys and Academy Awards.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cGlobal, in the truest sense of the word,\u201d Arnold says.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-yoasobi-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Yoasobi\" class=\"wp-image-1235971630\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-yoasobi-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-yoasobi-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Japanese duo Yoasobi played the 2024 Coachella and Lollapalooza festivals before headlining Radio City Music Hall in New York.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Bang Si-Hyuk<br \/><\/strong><em>Chairman<br \/><\/em><strong>Jason Jaesang Lee<br \/><\/strong><em>CEO, HYBE<br \/><\/em><strong>Jonghyun Kah<br \/><\/strong><em>CEO, HYBE Latin America<br \/><\/em><strong>Young Jae Shin<br \/><\/strong><em>President, BigHit Music<br \/><\/em><strong>Yoo Jin Oh<br \/><\/strong><em>GM, HYBE 360<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWhile HYBE boasts an artist roster with BTS (and its members\u2019 solo releases), Tomorrow\u00a0X Together and NewJeans, its global expansion gets a boost from an unlikely source: AI. Supertone, an AI audio company that HYBE acquired in 2023, launched virtual pop group SYNDI8 and enhanced Tomorrow\u00a0X Together\u2019s concert videos with multilingual pronunciation technology. Lee thinks that AI benefits musicians, but its regulation isn\u2019t keeping pace with technological advances. \u201cI believe the future of the industry will be shaped by how deliberately and appropriately we design the utilization and regulation of \u00adtechnology,\u201d he says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe music industry as a whole is still undervalued,\u201d Lee says. \u201cA simple calculation reveals this: The hourly cost of streaming is remarkably low compared with other forms of entertainment and services. It affects not only the revenue of companies but also the people who work in the music industry \u2014 from creators to the staff on the ground \u2014 who aren\u2019t being compensated for their true worth.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Kimberly Bedoya<br \/><\/strong><em>Head of Latin marketing, Roc Nation Distribution<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe recently launched Roc Nation Distribution \u201chas provided a solution for indie artists to distribute their music globally,\u201d Bedoya says. \u201cWe\u2019ve significantly strengthened our international presence through strategic partnerships and collaborations and successfully executed global marketing campaigns for high-profile music artists.\u201d That includes Dominican rapper-singer Yailin La M\u00e1s Viral, whose viral song \u201cBing Bong\u201d trended at No.\u00a01 on YouTube across multiple markets, Bedoya says, and \u201cdemonstrated our expertise in managing large-scale international initiatives and deepened our relationships with global partners and media platforms across Latin America, Europe and North America.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cInnovative. The music business today is transforming, driven by rapid technological advances, new platforms and the shift of consumer behaviors.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Louis Bloom<br \/><\/strong><em>President, Island EMI Label Group, Universal Music U.K.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tNot even halfway through 2025, Bloom already calls it \u201cChappell Roan\u2019s year.\u201d After Roan picked up two BRIT Awards in March, her song \u201cPink Pony Club\u201d ruled the Official Singles Chart in the United Kingdom for two weeks, \u201cproving that Chappell\u2019s music is utterly timeless,\u201d he adds. Meanwhile, Roan\u2019s 2023 album, <em>The Rise and Fall of a Midwest Princess<\/em>, has spent 41 weeks in the top\u00a010 on the Official Albums Chart. Bloom says \u201canother remarkable achievement\u201d is the <em>Wicked<\/em> soundtrack breaking \u201cthe U.K. chart record for the longest consecutive reign at No.\u00a01 on the Official Compilations Chart, staying on top for an unprecedented 16 weeks.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cThree words: relentless yet edifying.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Alec Boateng<br \/><\/strong><em>President, 0207 Def Jam, Universal Music U.K.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tLast summer, veteran electronic duo Chase\u00a0&amp; Status and rapper Stormzy teamed up for \u201cBackbone,\u201d which hit No.\u00a01 on the Official Singles Chart in the United Kingdom. \u201cSeeing this song [a joint release with EMI] have international reach is amazing, and obviously, the fact it was such a huge No.\u00a01 in the U.K. is something we\u2019re really proud of,\u201d Boateng says. \u201cGiven the range of choices facing an artist nowadays,\u201d he continues, 0207 Def\u00a0Jam is focused on providing \u201cbespoke individual services of quality to each artist that we work with.\u201d In the music industry now, \u201ceveryone has a different time in which the moment happens,\u201d according to Boateng. \u201cAnd patience is required for those who take a longer time to get there.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cUnpredictable.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Joseph Chang<br \/><\/strong><em>Co-CEO, Kakao Entertainment<br \/><\/em><strong>Daniel Jang<br \/>Dmitry YJ Tak<\/strong><br \/><em>Co-CEOs, SM Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cOver the past few months, Kakao Entertainment has solidified its position as a key player in the K-pop scene,\u201d Chang says. Finding a new twist on the K-pop model, Kakao\u2019s joint venture with SM Entertainment launched a five-member British boy band, dearALICE, which reached No.\u00a02 on the U.K. Official Physical Singles Chart with its debut single, \u201cAriana.\u201d Both companies had successful world tours, too. Kakao\u2019s IVE staged its first large-scale world tour and played to 420,000 fans in 28 cities across the globe, according to SM. SM\u2019s aespa did its second world tour from June 2024 to March 2025, staging 43 concerts in 28 cities.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201c\u00a0\u2018Boundary-breaking\u2019 is the word that best describes today\u2019s music industry,\u201d Chang says. \u201cThe industry is no longer hemmed in by walls of language, nationality, platform or genre.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jo Charrington<br \/><\/strong><em>President, Capitol Records, Universal Music U.K.<br \/><\/em><strong>Kieran Thurgood<br \/><\/strong><em>Executive vp of global marketing, Capitol Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWorking closely with U.S. labels \u2014 Capitol, Island and Mercury \u2014 has paid off in breaking U.K. artists stateside, Charrington says, as evidenced by the success of DJ-producer Sammy Virji. \u201cSammy played Coachella [in April] and is set to play two dates at Brooklyn Mirage in June,\u201d Charrington says, adding that British neo-soul singer Olivia Dean is touring the United States and opening for Sabrina Carpenter at Madison Square Garden in New York in October. For Thurgood, global campaigns for songs by Good Neighbours, Quavo\u00a0&amp; Lana Del Rey, Ice Spice and Troye Sivan have all yielded global hits, as well as his team\u2019s work on the meteoric ascent of Doechii, whose latest hit, \u201cAnxiety,\u201d just topped the global Spotify charts, \u201cwith 70% of consumption originating outside the U.S.,\u201d he says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cPointedly, achieving optimal success for our artists and portfolio of labels fundamentally relies on aggressively, but authentically, driving and harnessing the power of superfandom,\u201d Thurgood says.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"836\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-olivia-dean-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Olivia Dean\" class=\"wp-image-1235971631\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-olivia-dean-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-olivia-dean-billboard-2025-bb07-1240.jpg?resize=300,202 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">British neo-soul singer Olivia Dean has been touring Australia and will open for Sabrina Carpenter at Madison Square Garden in October.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Brianne Deslippe<br \/><\/strong><em>Senior vp of marketing, Big Loud Records<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAt Big Loud, \u201cwe scaled our international business rapidly this year with aggressive global marketing efforts, promotional events, creative social and digital campaigns, multiformat radio No.\u00a01s and nearly 250 tour dates and festivals,\u201d Deslippe says. Morgan Wallen\u2019s One Night at a Time World Tour spanned 10 countries and 87 shows, while other Big Loud artists including Stephen Wilson\u00a0Jr., Dylan Gossett, Ashley Cooke, Charles Wesley Godwin and Kashus Culpepper experienced growth in global market reception, driving surges in streaming and audience numbers. Still, Deslippe says of the obstacles in marketing rising talents, \u201cDiscoverability is a constant challenge as new artists fight for attention in overcrowded spaces.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cEvolving.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Sipho Dlamini<br \/><\/strong><em>President\/managing director, gamma.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tDlamini and his team signed over 35 distribution deals across Africa and the Middle East, establishing the company\u2019s presence in the latter region by producing Steve Harvey\u2019s Open Fire Food Festival in collaboration with BET Africa. He also A&amp;R\u2019d a remixed track by Tamela Mann by bringing in South African <em>amapiano<\/em>\/3-step producer M\u00f6rda. They also opened gamma.\u2019s first office in Lagos, Nigeria, offering full label services and local representation for its distribution platform Vydia, and formed strategic partnerships with Sol Generation (Kenya\u2019s leading label, owned by Sauti Sol) and Gallo Music Group (South Africa\u2019s oldest and largest independent label).<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cConfused.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Denzyl Feigelson<br \/><\/strong><em>Co-founder\/CEO, Platoon<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tLast year, Platoon, the Apple-owned artist services, A&amp;R and music distribution company, increased its efforts to provide career-boosting services to acts worldwide by delving into the classical world. These efforts paid off in November, when the Los Angeles Philharmonic and Gustavo Dudamel\u2019s <em>Fandango<\/em> album featuring violinist Anne Akiko Meyers and composer Arturo M\u00e1rquez won two classical categories at the Latin Grammy Awards, and again in February, when Gabriela Ortiz\u2019s <em>Revoluci\u00f3n Diamantina<\/em> with Dudamel and the L.A. Phil spotlighting violinist Mar\u00eda Due\u00f1as took home an unprecedented three Grammy Awards, including best orchestral performance.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThere are of course multiple issues and, in turn, opportunities,\u201d Feigelson says. \u201cOne that is top of mind is the perception of quick overnight success versus career development.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Arthur Fitzgibbon<br \/><\/strong><em>Managing director, Brazil<br \/><\/em><strong>Andr\u00e9s L\u00f3pez-Quiroga<br \/><\/strong><em>Executive vp of business development, Latin Iberia, ONErpm<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cONErpm has continued to grow and establish itself as a modern label for artists at various stages of their careers,\u201d including local, international and global acts, \u201cdemonstrating that our global structure, technology and flexible deal structures benefit both artists and the current industry landscape,\u201d L\u00f3pez-Quiroga says. He points to international success with hits like Chance Pe\u00f1a and Andres Castro\u2019s \u201cVaquero Vaquero,\u201d Chimbala\u2019s \u201cChe Che,\u201d Brytiago\u2019s \u201cKilerito\u201d and emerging artist Alejo. \u201cOur ability to rapidly adapt to the evolving industry landscape \u2014 leveraging our technology, global and organizational structures \u2014 and flexible deal structures,\u201d he adds, \u201chas enabled ONErpm to increase its global market share while maintaining a top five position in various markets worldwide.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cEver-changing,\u201d L\u00f3pez-Quiroga says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Kenny Gates<br \/><\/strong><em>Co-founder\/CEO, [PIAS]<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn October last year, [PIAS] co-founder\/CEO Gates and co-founder Michel Lambot sold their remaining shares of the indie label group to Universal Music Group to support their dream of offering truly global distribution services to the independent music community. Six months later, Gates says the partnership has allowed [PIAS] to retain its autonomy and core values while becoming \u201can added dimension in the UMG ecosystem,\u201d as [PIAS] has continued to demonstrate its commitment to artists through recent successes like Nick Cave and the Bad Seeds\u2019 new album, <em>Wild God<\/em>, and the breakout success of controversial Irish hip-hop act Kneecap.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cGetting access to media and to engaged audiences for truly great and passionate artists is becoming harder and harder as the DSPs and the market generally become ever more overwhelmed with the sheer volume of mediocrity clogging the system.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-nick-cave-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Nick Cave\" class=\"wp-image-1235971632\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-nick-cave-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-nick-cave-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Music group [PIAS] is backing the release of Nick Cave\u2019s new album with the Bad Seeds, <em>Wild God<\/em>.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jonas Haentjes<br \/><\/strong><em>CEO, Edel<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOne of the biggest independent music companies in Europe, Edel owns several labels (earMUSIC, dance-focused Kontor Records), a sizable vinyl pressing plant (Optimal Media, which also manufactures CDs, DVDs and books) and a distribution operation. Last year, sales were down 7.7% overall, but with a 3.2% increase in EBITDA (earnings before interest, taxes, depreciation and amortization) and strong growth in digital distribution, balanced by a stable manufacturing business. The vinyl business suffers from overcapacity, but \u201ceveryone knows us, everyone trusts us, and we\u2019re trying to push our process further,\u201d Haentjes says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cWe really need to watch out with what we allow the AI companies to do.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Tor Hansen<br \/><\/strong><em>Co-founder\/executive, Redeye<br \/><\/em><strong>Pelle Eriksson<br \/><\/strong><em>Managing director, Border Music\/Redeye<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAs leaders of the Swedish indie distributor Redeye, Hansen and Eriksson have spent the past year streamlining how music from their global label partners reaches fans around the world \u2014 from physical products at retailers to DSPs \u2014 and focusing on products delivered to stores in Scandinavia. \u201cWe have intensified our efforts on spreading the news, and the music, from local independent labels we work with throughout the world,\u201d Eriksson says. \u201cThe key to keep the physical part of the industry alive and well is to continue to offer quality products, vinyl and CD \u2014 at fair prices, all to keep the record-buying public happy.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cFor the Scandinavia market, I would say, \u2018Steady,\u2019\u00a0\u201d Eriksson says. \u201cFor Border\u2019s international releases, I would say, \u2018Growing.\u2019\u00a0\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Paul Hitchman<br \/><\/strong><em>COO<br \/><\/em><strong>Ben Akinbola<br \/><\/strong><em>Head of growth, AWAL<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cLast year, marquee AWAL artists like Jungle [in the United Kingdom] and The Beaches [in Canada] \u2014 winners of group of the year honors at the BRIT Awards and Juno Awards, respectively \u2014 reached new heights in their careers internationally. Building off those international successes, we now also have local artists charting on every inhabitable continent, with a presence on the ground in over 15 markets,\u201d Akinbola says, pointing to successes in South Africa with Yanga Chief, the Philippines with Zae and India with Loka. \u201cAll of our successes are ultimately the combination of AWAL\u2019s unique model for artist development, our partnership with local Sony Music teams in growth markets and, most importantly, an incredible roster of independent artists who continuously push creative boundaries.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cDemocratization,\u201d Akinbola says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Ed Howard<br \/>Briony Turner<\/strong><br \/><em>Co-presidents, Atlantic Records U.K.<br \/><\/em><strong>Samantha Strum<br \/><\/strong><em>Director of global marketing, Atlantic Records<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThanks to the campaign waged by Charli\u00a0xcx and Atlantic, 2024 became known in multiple markets as the year of Brat Summer. \u201cWe helped to define culture,\u201d Howard says of the campaign\u2019s bright green aesthetic that \u201ctook over everything from fashion, sports, U.S. politics and beyond.\u201d He adds, \u201cCharli is a great example of a long-term artist development. Having signed with Atlantic at just 15, she\u2019s had the time and backing to develop with artistic freedom, pushing the boundaries of alternative pop.\u201d Looking ahead, Turner is excited about the U.K. signings of Kingfishr and Yaelokre, plus artist Alex Warren, whose \u201cOrdinary\u201d hit No.\u00a01 on the Official Singles Chart in the United Kingdom.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cWe increasingly face challenges in maintaining and expanding our [U.K.] export reach due to a combination of political, economic and competitive factors,\u201d Howard says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Manu Kaushish<br \/><\/strong><em>President of international, Create Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn June 2024, Create Music Group reached a significant milestone when it received a $160\u00a0million investment from Chicago-based private equity firm Flexpoint Ford. The move elevated CMG to \u201cunicorn\u201d status after getting a $1\u00a0billion valuation. The capital allowed CMG to acquire the catalogs of deadmau5 and his label, mau5trap. Founded in 2015, CMG includes marketing agency Flighthouse and independent music distribution platform Engine Label, which handled Ye and Ty Dolla $ign\u2019s Billboard\u00a0200 No.\u00a01 <em>Vultures\u00a01<\/em>. \u201cWe are poised for continued aggressive expansion in 2025, empowering and onboarding even more international artists and labels,\u201d Kaushish says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cHow to adequately and fairly compensate music creators in a world of ever-changing streaming royalties and algorithms, especially with the dominance and power that DSPs and their stakeholders have right now.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Joe Kentish<br \/><\/strong><em>President, Warner Records U.K.<br \/><\/em><strong>Luke Armitage<br \/><\/strong><em>Senior vp of global marketing, Warner Records (Export Marketing)<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWarner Records delivered a strong performance in the United Kingdom and globally in 2024. Dua Lipa and Coldplay headlined Glastonbury, which was streamed worldwide for the first time. With <em>Radical Optimism<\/em>, Lipa also attained \u201cmassive global success with [over] 3\u00a0billion streams and a sold-out global tour,\u201d while Coldplay\u2019s <em>Moon Music<\/em> \u201cbecame the fastest-selling album of 2024 by a British act,\u201d Kentish says. Also of note: Linkin Park\u2019s <em>From Zero<\/em> comeback album notched No.\u00a01 debuts in multiple countries including the United Kingdom, Australia and France; Benson Boone landed a No.\u00a01 on the U.K. Official Singles Chart with \u201cBeautiful Things\u201d; and Teddy Swims ushered in 2025 with his first No.\u00a01 album in Australia, <em>I\u2019ve Tried Everything but Therapy (Part\u00a02)<\/em>.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cOn a broader level, it\u2019s the decoupling of artists and their narratives from their songs,\u201d Kentish says. \u201cThe way music is consumed today makes it increasingly challenging to tell important new stories through those channels.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"879\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-globa-hottest-hits-chart-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players, Hottest Hits Chart\" class=\"wp-image-1235973256\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-globa-hottest-hits-chart-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-globa-hottest-hits-chart-billboard-2025-bb07-1240.jpg?resize=300,213 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Lyn Koppe<br \/><\/strong><em>Executive vp of global catalog<br \/><\/em><strong>Charlie Stanford<br \/><\/strong><em>Senior vp of international, commercial music group, Sony Music Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSony Music\u2019s global catalog team is \u201ctruly exceptional and inspiring,\u201d says Koppe, who manages the expansive Legacy Recordings\/Sony Music catalog. \u201cWith the privilege of overseeing some of the most iconic music from the last 100-plus years, our team focuses on innovating, sharing learnings and developing best practices among countries as trusted collaborators.\u201d Meanwhile, Stanford says his purview across all of Sony Music\u2019s international catalog continued to expand thanks to several of the company\u2019s major acquisitions. \u201cAs always,\u201d Koppe adds, \u201cour passion for music, our artists and their fans remains the top priority guiding our strategies around the world.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cFans have a lot of choice,\u201d Stanford says, \u201cso from a catalog perspective, we must focus on developing unique and authentic ways to cut through and help audiences discover decades of incredible music from around the world.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Ben Larsen<br \/><\/strong><em>Executive vp of international, Interscope Geffen A&amp;M<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cBeing given license to reimagine how we develop artist careers globally and how we do business around the world has meant that my team and I are able to evolve the partnerships with our UMG affiliates to greater effect,\u201d Larsen says. That freedom played an integral role in paving a two-way-street \u2014 creative and execution \u2014 that delivered \u201camazing results\u201d over the last year. As examples, Larsen cites Lady Gaga, Kendrick Lamar and Playboi Carti, who had \u201csome of the biggest global rollouts in years, topping album and singles charts.\u201d Then to also see Gracie Abrams \u201cbreak through with a huge No.\u00a01 single [\u201cThat\u2019s So True\u201d] all over the world is exciting,\u201d Larsen adds, \u201cand sets the tone for what\u2019s to come.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cRelentless.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Federico Lauria<br \/><\/strong><em>Founder\/CEO, Dale Play<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe Argentina-based company made impressive gains across its divisions: Dale Play Management, Dale Play Records and Dale Play Live. On the management side, Lauria\u2019s marquee client Duki became the first rapper \u2014 and only Argentine artist \u2014 to sell out Madrid\u2019s Santiago Bernab\u00e9u Stadium. Meanwhile, Lauria says Dale Play Live sold over 1\u00a0million tickets in Argentina alone during 2024, promoting shows for global acts Travis Scott and Karol\u00a0G, to name a few. Furthermore, Dale Play Records \u2014 home to artists like Cazzu and Paulo Londra \u2014 and Bad Bunny\u2019s Rimas Entertainment teamed for a strategic alliance, \u201cplaying a key role in developing and amplifying a new wave of Spanish-language urban music around the world,\u201d Lauria adds.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cPassion. At least in Dale Play, that\u2019s our engine. It\u2019s what drives every risk, every idea and every action. Without it, nothing else works.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Nando Luaces<br \/><\/strong><em>Founder\/CEO, Altafonte<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSince Sony Music Group\u2019s acquisition of Altafonte in January 2024, \u201cwe continue to operate independently but have all the financial capacity and know-how to grow in a very competitive and dynamic market,\u201d Luaces says. On industry challenges, Luaces emphasizes adapting to technological advances: \u201cAI and the challenge of how to be fair in royalty payments for streaming is the problem of today, and we must solve it,\u201d he says. \u201cIn order to have a prosperous and larger business, we continue to adapt to changes and technological advances, as has been the history of music for the last 130 years.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cAcceptance. Accept that the world is unstable and changing. Anything can happen.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Roni Maltz Bin<br \/><\/strong><em>Founder\/CEO, Sua M\u00fasica Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBrazilian indie distributor Sua, known for its focus on independent regional artists, has now begun its \u201cinternational expansion into the Latin market,\u201d Maltz\u00a0Bin says, noting that the company has plans to launch labels in key territories including Argentina, Chile, Colombia and Mexico in the next 24 months. In December, Sua opened a recording studio and urban music label \u00danico M\u00fasica in Buenos Aires, Argentina, for emerging talent. The \u00adcompany also hired its first A&amp;R executive in Medell\u00edn, Colombia, with plans to launch a label there. \u201cThere has never been a time with so many opportunities in the music industry for artists, producers, labels, record companies and entrepreneurs,\u201d Maltz\u00a0Bin says. \u201cWe are living in the golden era of the music business.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe two biggest challenges are the rise of AI-powered tools and the increasing amount of artificial streaming and fraud.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Martin Mills<br \/><\/strong><em>Chairman<br \/><\/em><strong>Paul Redding<br \/><\/strong><em>COO<\/em><br \/><strong>Brandon Becker<br \/><\/strong><em>Global vp of streaming, Beggars Group<br \/><\/em><strong>Jean-Philippe Aline<br \/><\/strong><em>GM, Beggars France<br \/><\/em><strong>Ben Beardsworth<br \/><\/strong><em>Managing director, XL Recordings<br \/><\/em><strong>Caius Pawson<br \/><\/strong><em>Founder, Young<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn 2024, XL\u00a0Recordings worked closely with The Smile, as well as DJ Peggy Gou. \u201c(It Goes Like) Nanana,\u201d Gou\u2019s debut release for XL, topped singles charts around the globe ahead of the 2024 release of her acclaimed solo album, <em>I\u00a0Hear You<\/em>. Mills is particularly proud of how Beggars Group also helped take Irish band Fontaines\u00a0D.C. \u201cto the next level.\u201d Last September, the band made its Billboard\u00a0200 debut with its fourth album, <em>Romance<\/em> (released on XL\u00a0Recordings), which peaked at No.\u00a02 on the U.K. Official Albums Chart. Meanwhile, lead single \u201cStarburster\u201d became a top\u00a020 hit on the Alternative and <a href=\"https:\/\/www.billboard.com\/charts\/triple-a\/\" target=\"_blank\" rel=\"noreferrer noopener\">Triple\u00a0A airplay<\/a> charts. As Mills says, \u201cIt was a major global success story that we are all very proud of.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue:<\/strong> \u201cThe biggest issue is money,\u201d Mills says. \u201cCommerce and art have always been uncomfortable bedfellows, never more so than now.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Ben Mortimer<br \/><\/strong><em>President, Polydor Label Group, Universal Music U.K.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tMortimer\u2019s focus over the last year was \u201cintegrating the incredible artist rosters and executive talent at Capitol Records and 0207 Def\u00a0Jam into the Polydor world.\u201d He says, \u201cIt\u2019s gone remarkably smoothly, which is a testament to all involved.\u201d Polydor star Sam Fender also released his <em>People Watching<\/em> album, which channels classic heartland rock; it hit the top of the U.K. Official Albums Chart with 107,000 chart units \u2014 the biggest opening week for a British solo act since 2022. Fender will play select stadium shows in the United Kingdom this summer.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cVying for attention amid the breadth of music from around the world. However, the U.K. has always punched above its weight creatively, and I feel we are on the cusp of a new wave of breakthrough British talent.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Suhel Nafar<br \/><\/strong><em>Managing director of West Asia and North Africa<br \/><\/em><strong>Jeffrey Yoo<br \/><\/strong><em>Senior vp of East Asia<br \/><\/em><strong>Taeko Saito<br \/><\/strong><em>Senior vp of business development and strategies, Asia Pacific, EMPIRE<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cEMPIRE has made significant strides in bridging global music markets, fostering cross-cultural collaborations and amplifying diverse voices,\u201d including a \u201cstrong foundation in the African music scene,\u201d Nafar says, citing as an example Moroccan rapper Dada and Sudanese rapper Soulja recording an Arabic remix of Los Angeles rapper 310babii\u2019s 2024 <a rel=\"noreferrer noopener\" target=\"_blank\" href=\"https:\/\/www.billboard.com\/charts\/rhythmic-40\/\">Rhythmic Airplay<\/a> No.\u00a01 breakout hit, \u201cSoak City (Do It).\u201d And signing some of the biggest acts in South Korea and Southeast Asia like K-pop icon G-Dragon has further cemented \u201cEMPIRE\u2019s reputation as a key player in shaping the future of the global music industry,\u201d he adds.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cInstead of merely capitalizing on what performs well in the data,\u201d Nafar says, \u201cthe industry must do better in nurturing and developing talent, ensuring that artistry and innovation remain at the heart of the music business.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Donny Novakovic<br \/><\/strong><em>Vp of international marketing, Disney Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cThis year, we brought our storytelling passion to life with exciting global soundtrack campaigns for two highly anticipated films, <em>Moana\u00a02<\/em> and <em>Mufasa: The Lion King<\/em>,\u201d Novakovic says, adding that last year, Disney made the soundtracks available in 29 languages, \u201censuring that the magic of these stories reaches cultures worldwide.\u201d Earlier in 2025, the company introduced the soundtrack to Disney\u2019s <em>Snow White<\/em>, \u201ca captivating addition to our repertoire that continues to celebrate the timeless tales that have inspired generations,\u201d he says. Novakovic also notes the momentum of pop trio almost monday, which wrapped a sold-out 19-city headlining run through Europe.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe music business today in a word \u201cAbundant \u2014 overflowing with creativity, talent and opportunity across a constantly expanding global landscape.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jamie Oborne<br \/><\/strong><em>Founder, Dirty Hit<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOborne says that Dirty Hit \u2014 the home of a diverse indie-\u00adleaning stable of acts, including The 1975, Bleachers, beabadoobee and Saya Gray \u2014 spent the past year expanding its global reach with international partnerships and placement on live and digital platforms in different countries. \u201cOne highlight has been our efforts in expanding into emerging markets such as Asia and Latin America, where we\u2019ve seen a growing fan base for our artists,\u201d Oborne says. \u201cThrough these initiatives, we have strengthened our international business relationships by pushing our artists into new territories and enabling them to connect with a wider audience than ever before.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> The streaming model \u201cheavily favors large corporations and major labels, leaving independent artists and smaller labels with a much smaller share of the revenue. As a result, there\u2019s an ongoing need for fairer revenue-sharing models, better protection for intellectual property and more support for independent artists to ensure the sustainability of the industry.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Olamide<br \/><\/strong><em>Founder\/CEO, YBNL Nation<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cYBNL Nation has made significant strides in expanding our global footprint and solidifying our presence in key international markets,\u201d says artist Olamide, who also runs his own company. Asake sold out London\u2019s O2\u00a0Arena for the second time in September 2024, becoming the third Nigerian artist after Davido and Wizkid to sell out the venue multiple times, according to YBNL Nation. The show was held a month after he released his third album, <em>Lungu Boy<\/em>, which included collaborations with Travis Scott (\u201cActive\u201d hit No.\u00a01 on <a href=\"https:\/\/www.billboard.com\/charts\/billboard-u-s-afrobeats-songs\/\" target=\"_blank\" rel=\"noreferrer noopener\">Billboard U.S. Afrobeats Songs<\/a>), U.K. artists Central Cee and Stormzy and Brazil\u2019s Ludmilla. \u201cMMS\u201d (featuring Wizkid) earned Asake his second Grammy nomination for best African music performance. \u201cCollaborations with international artists and producers have helped bridge the gap between Afrobeats and other genres,\u201d he adds, \u201cfurther establishing our label as a key player in the global music scene.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cDisruptive.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-asake-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Asake\" class=\"wp-image-1235971633\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-asake-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-asake-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">YBNL Nation artist Asake sold out London\u2019s O2 Arena for the second time last September, becoming only the third Nigerian act to do so, according to the company.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Alejandra Olea<br \/><\/strong><em>Managing director, Americas, Believe<br \/><\/em><strong>Andreea Gleeson<br \/><\/strong><em>CEO, TuneCore<br \/><\/em><strong>Romain Vivien<br \/><\/strong><em>Global head of music\/president of Europe, Believe<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBelieve, and subsidiary TuneCore, represent \u201cartists and labels across every genre in local markets all around the world,\u201d Vivien says \u2014 including about 50 artists who were either nominated for or won awards at some two dozen awards ceremonies worldwide, according to the company. Its strategy of working with local independent labels and producers led to deals with legendary Punjabi label White Hill Music, Krumolo in Southeast Asia and the launch of Playcode, Believe\u2019s first local hip-hop imprint. Rising stars that charted internationally in 2024 include Canada\u2019s Cheema\u00a0Y, Germany\u2019s Lacazette and Japan\u2019s \u00a5ellow Bucks and Red Eye.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cDynamic,\u201d Vivien says. \u201cThis is true across every area of the industry, around how music is created, discovered, consumed and then redefined. This has been powered by the increasing digitalization, which allows for more creation, faster and wider distribution to reach audiences more directly and accurately and for a wider and more diverse artist community.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Maykel Piron<br \/><\/strong><em>Co-founder\/CEO, Armada Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tFor over 20 years, Armada Music co-founder\/CEO Piron has remained a driving force in electronic dance music, especially for independent artists. With teams across the United States and sections of Europe, Armada Music Group has been focused on international expansion. The company has expanded its publishing division and doubled the size of its London office. \u201cWith teams strategically positioned across Europe, the U.K. and the U.S.,\u201d Piron says, \u201cwe\u2019re able to operate synergistically across markets, providing comprehensive global support for our artists.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cWith an overwhelming number of releases dropping each week, cutting through the noise is more challenging than ever, especially in electronic music. Labels must collaborate closely with their artists to tailor strategies specific to their needs \u2014 a one-size-fits-all approach simply doesn\u2019t cut it.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jeff Remedios<br \/><\/strong><em>President of strategic development<br \/><\/em><strong>Mike Alexander<br \/><\/strong><em>Executive vp of global marketing strategy, REPUBLIC Collective<br \/><\/em><strong>Steven Rowen<br \/><\/strong><em>Senior vp of global marketing strategy, Island Records<br \/><\/em><strong>Zoe Briggs<br \/><\/strong><em>Vp of global marketing strategy, Republic Records\/Mercury Records<br \/><\/em><strong>Myra deCastro-Yournett<br \/><\/strong><em>Vp of international marketing, Republic Records\/Def Jam Recordings<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAlexander says 2024 was \u201ca massive year\u201d for REPUBLIC Collective thanks to artists such as The Weeknd, Sabrina Carpenter, Chappell Roan and Noah Kahan. Last year\u2019s highlights include Carpenter\u2019s <em>Short\u00a0n\u2019 Sweet<\/em> debuting at No.\u00a01 in 15 countries and moving 10\u00a0million units globally, according to REPUBLIC, as well as her becoming the first non-British artist to win the global success trophy at the 2025 BRIT Awards. Plus, Roan won best international artist and song at the 2025 BRITs, Kahan\u2019s \u201cStick Season\u201d became the year\u2019s No.\u00a01 single in the United Kingdom and the <em>Wicked<\/em> soundtrack broke the record for longest consecutive No.\u00a01 reign on the U.K. Official Compilations Chart.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cI don\u2019t see them as issues as much as I see them as opportunities,\u201d Alexander says. \u201cThere are so many untapped audiences around the world that we\u2019re just starting to reach.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Kaiya Sarkis<br \/><\/strong><em>GM, SALXCO UAM<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSarkis says SALXCO UAM takes \u201cpride in breaking Arabic music, culture and sound globally\u201d since CEO Wassim \u201cSal\u201d Slaiby founded the label in 2021. Palestinian-Chilean pop star Elyanna, who made history at Coachella in 2023 by becoming the first artist to perform an entire set in Arabic, made her TV debut on <em>The Late Show With Stephen Colbert<\/em> in May 2024. In October, she joined Coldplay alongside Argentine actress-singer-songwriter TINI to perform \u201cWe Pray\u201d \u2014 which became Elyanna\u2019s first <a href=\"https:\/\/www.billboard.com\/charts\/hot-100\/\" target=\"_blank\" rel=\"noreferrer noopener\">Billboard Hot\u00a0100<\/a> entry, peaking at No.\u00a087 \u2014 during the band\u2019s <em>Saturday Night Live<\/em> gig. \u201cOur records have also made their mark on U.S. and global charts, including Nancy Ajram, Saint Levant and more,\u201d she adds, \u201cfurther solidifying our commitment to making a lasting impact and expanding the reach of Arabic music worldwide.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Ed Scott<br \/><\/strong><em>Head of international label and artist marketing<br \/><\/em><strong>Olukorede \u201cKay\u201d Ikazoboh<br \/><\/strong><em>Country manager, Nigeria<br \/><\/em><strong>Amit Sharma<br \/><\/strong><em>Country manager, India<br \/><\/em><strong>Liza Faudy<br \/><\/strong><em>Regional director, Southeast Asia, Virgin Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn October 2024, Virgin Music Group expanded its global reach after acquiring Outdustry, known for its artist and label services and rights management across China, India and other large-growth markets. Outdustry founder Ed Peto joined Virgin as senior vp of international strategy. Along with that acquisition, Virgin also scored wins with its Nigerian division. According to Ikazoboh, Virgin Music Nigeria invested more in homegrown ventures such as Dapper Entertainment and Rain Labs in Ghana, with the latter yielding impressive wins, including a Ghana Music Awards nomination for best hip-hop song from local artist Joey\u00a0B.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe ongoing struggle for fair and sustainable monetization,\u201d Ikazoboh says. \u201cWhile streaming has revolutionized access to music, revenue structures remain disproportionately skewed in favor of platforms rather than the creators themselves. For African artists and local music companies, this challenge is compounded by limited financial infrastructure, difficulties in collecting royalties across multiple territories and the need for greater industrywide transparency.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Adriana Sein<br \/><\/strong><em>Global head of artist and market development, ADA<br \/><\/em><strong>Howard Corner<br \/><\/strong><em>Managing director, ADA U.K.<br \/><\/em><strong>Cesar Lores<br \/><\/strong><em>Managing director\/head of EU A&amp;R, ADA Iberia<br \/><\/em><strong>Ben Ralph<br \/><\/strong><em>Managing director, ADA Australasia<br \/><\/em><strong>Nikoo Sadr<br \/><\/strong><em>Vp of international services and business development, ADA Nordics<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tADA, the global independent music distribution and artist services division of Warner Music Group, spent the last year-and-a-half focused on growth in key markets. In Latin America, ADA invested in Brazil\u2019s Sua M\u00fasica Group and Venezuealan band Rawayana earned its first U.S. and Latin Grammy wins. In the United Kingdom, ADA renewed its partnership with Sonny Fodera, whose hit track \u201cSomedays\u201d was the country\u2019s biggest-selling independent single of the year, according to ADA\u00a0U.K. In Southeast Asia, ADA deepened its collaboration with DPM, one of Indonesia\u2019s largest music companies, and forged a new deal with GMM Music, the region\u2019s largest independent label. Plus, Norwegian star Emma Steinbakken won artist of the year at awards show P3\u00a0Gull and held the No.\u00a01 spot on local radio for several weeks.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cWe need to keep up with how rapidly technology is evolving the way fans discover and consume music,\u201d Sein says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Per Sundin<br \/><\/strong><em>CEO, Pophouse Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn March, Pophouse announced that it had raised over 1\u00a0billion euros ($1.1\u00a0million) to invest in music rights. The company already has made deals with acts including KISS, Cyndi Lauper, Avicii and Swedish House Mafia. \u201cThe Avicii documentary <em>I\u2019m Tim<\/em>, which premiered on New Year\u2019s Eve 2024, was met with an overwhelmingly positive response, and we have several projects cooking on all of our catalogs with our fantastic artists,\u201d Sundin says. \u201cOur production leg is also thriving. <em>ABBA Voyage<\/em> \u2014 the avatar show expanding the legacy of a globally beloved band, and in which we are funding investors \u2014 has sold over 3\u00a0million tickets in under three years since being launched in May 2022. And <em>Mamma Mia! The Party<\/em> continues to sell out shows in London, Stockholm and Rotterdam [Netherlands].\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cEssential. And it always has been. Throughout history, during times of political chaos or uncertainty, music and entertainment have been a lifeline.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Darius van Arman<br \/><\/strong><em>CEO<br \/><\/em><strong>Tom Davies<br \/><\/strong><em>Director of global marketing and campaigns, Secretly Distribution<br \/><\/em><strong>Ali Murphy<br \/><\/strong><em>Senior international marketing director, Secretly Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe Secretly Group of labels and Secretly Distribution have been focused on fostering \u201ckey markets while working global campaigns, a recent highlight being Grammy-nominated Khruangbin\u2019s <em>A\u00a0La Sala<\/em>, which hit the top\u00a010 across multiple European markets,\u201d Murphy says. While the company is predominantly American, she notes that it is gaining solid footing in a number of international markets with albums or singles from Phoebe Bridgers, Mitski and Bon Iver \u201cgoing gold in the U.K. in the past 12 to 18 months; a true testament to the quality of artists we work with and the teams we\u2019ve built internationally.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cSecretly is an artist-first company, and while we need to make sure to be pulling all the levers, we\u2019re also dealing with real people \u2014 artists and fans,\u201d Murphy says. \u201cSo it\u2019s about striking a balance between authenticity, efficiency and creating unique moments that feel true to the artist and to which fans can connect.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-khruangbin-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Khruangbin\" class=\"wp-image-1235971634\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-khruangbin-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-khruangbin-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Texas trio Khruangbin earned a best new artist nomination at the Grammys in February with the album <em>A La Sala<\/em> and has gone top 10 in multiple European markets, according to Secretly Group.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Pieter van Rijn<br \/><\/strong><em>CEO, Downtown Music<br \/><\/em><strong>Renato Vanzella<br \/><\/strong><em>GM of Latin America<br \/><\/em><strong>Liz Northeast<br \/><\/strong><em>Senior vp of Europe, Middle East and Asia, FUGA<br \/><\/em><strong>Raymond Tapia<br \/><\/strong><em>Vp of A&amp;R, Latin, Downtown artist and label services<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tDowntown Music CEO van\u00a0Rijn says this year\u2019s awards season was a \u201ctestament to the remarkable global talent we have the privilege of supporting.\u201d Downtown reports that its artists and writers were involved with more than one-third of this year\u2019s Grammy winners and garnered six wins at the Latin Grammys, while its publishing clients won 13 honors at the BMI Latin Awards. Successes came from FUGA client and Th3rd Brain artist Zerb, who topped Spotify\u2019s and Shazam\u2019s dance charts; Froukje, with the most streamed and best-selling Dutch album of 2024; and Net\u00f3n Vega, a Peso Pluma collaborator whose debut album, <em>Mi Vida Mi Muerte<\/em>, hit No.\u00a019 on the Billboard\u00a0200.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cStriking a balance between embracing innovation while building robust frameworks that protect rights holders and ensure long-term value for artists, songwriters and music businesses is key,\u201d van\u00a0Rijn says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Dan Waite<br \/><\/strong><em>CEO, Better Noise Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBetter Noise has long been one of the most dominant labels in mainstream rock, topping the <a rel=\"noreferrer noopener\" target=\"_blank\" href=\"https:\/\/www.billboard.com\/charts\/year-end\/hot-mainstream-rock-songs-labels\/\">Mainstream Rock Airplay Labels year-end chart<\/a> for the third time this decade in 2024, while also claiming the top song (Nothing More\u2019s \u201cIf It Doesn\u2019t Hurt\u201d) by the group Nothing More. Waite sees Better Noise as well-positioned to take advantage of streaming-era globalization, as evidenced by its success with Mongolian rockers The\u00a0Hu. \u201cThe music industry today has never had a greater global opportunity for music inclusion and consumption across platforms, technology, communities,\u201d he says. \u201cThe music taste palate of the world has evolved, and this gives rise to the next breakthrough band being from anywhere.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThere is still only 24 hours in a day, and the music business faces headwinds from attention-competing alternatives for people\u2019s time, lack of fair compensation for prior work from AI tech, the squeeze at the new-creator level by thresholds on payment and lack of truly independent distributor routes to market.\u201d<\/p>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Publishing<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Benjamin Budde<br \/><\/strong><em>CEO, Budde Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOver the past decade, Budde Music has expanded from its roots as a music publisher into talent management, concert promotion and the agency business. So in 2024 the company hired Maximilian Paproth to run its German publishing business and global A&amp;R, freeing CEO Budde to drive further growth. The big creative win for the company \u2014 the biggest publisher in Germany after the majors and BMG \u2014 was celebrating the 40th anniversary of Alphaville\u2019s \u201cForever Young.\u201d Budde partners with Warner Music Group on the act\u2019s recordings and \u00adpublishes its songs globally. Its campaign sent the song to No.\u00a01 on the <a rel=\"noreferrer noopener\" target=\"_blank\" href=\"https:\/\/www.billboard.com\/charts\/tiktok-billboard-top-50\/\">TikTok Billboard Top\u00a050<\/a> list and a David Guetta remix with singer Ava Max to No.\u00a02 on <a rel=\"noreferrer noopener\" target=\"_blank\" href=\"https:\/\/www.billboard.com\/charts\/dance-electronic-songs\/\">Hot Dance\/Electronic Songs<\/a>.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"818\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-alphaville-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025,\" class=\"wp-image-1235971635\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-alphaville-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-alphaville-billboard-2025-bb07-1240.jpg?resize=300,198 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">The 40th anniversary of the hit \u201cForever Young\u201d from German synth-pop group Alphaville has been the focus of a campaign by Budde Music, which partners with Warner Music Group on the act\u2019s recordings and publishes its songs globally.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Nestor Casonu<br \/><\/strong><em>President of Latin America<br \/><\/em><strong>Stephane Berlow<br \/><\/strong><em>Managing director of France<br \/><\/em><strong>Simon Moor<br \/><\/strong><em>Managing director of Asia-Pacific<br \/><\/em><strong>Frederica Wong<br \/><\/strong><em>Director of Asia<br \/><\/em><strong>Swantje Weinert<br \/><\/strong><em>Senior vp\/head of A&amp;R for Germany, Switzerland and Austria, Kobalt<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cWe\u2019ve seen significant growth and success across our international operations,\u201d Casonu says, pointing to Kobalt Music Publishing\u2019s win for contemporary Latin publisher of the year at the 2025 BMI Latin Awards. (The \u00adpublisher reports that it represents at least part of seven of the genre\u2019s most performed songs in 2024.) \u201cThis was a huge milestone for Kobalt and something we are very proud of,\u201d he says. \u201cOur regional Mexican catalog continues to evolve. This year alone, we have officially signed Pedro Tovar of Eslabon Armado, Kartel Music, Hitkidz, Kevin Kaarl, Ana B\u00e1rbara and many more.\u201d Meanwhile, in Asia, Kobalt has secured partnerships with Tencent and NetEase, as well as setting up licensing frameworks for streaming video on demand.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cArtificial intelligence is definitely the biggest issue we face,\u201d Casonu says. \u201cAI poses a significant threat due to the lack of regulations or a cohesive plan to control its use within our industry at this moment.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Justin Dowling<br \/><\/strong><em>Executive vp of U.K. and Europe, Primary Wave; director, Blue Mountain Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe release of the biographical screen drama <em>Bob Marley: One Love<\/em> early in 2024 reenergized the catalog of the pioneering Jamaican reggae artist, Dowling says, creating one of the past year\u2019s most notable spikes for the company\u2019s roster. Marley\u2019s catalog reaching billion-stream status was a huge win for Primary Wave, he says. \u201cWe waited a long time for it, and aided by the very successful <em>One Love<\/em> biopic, we achieved this for not one but two songs in the catalog in 2024.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cMusic should be cohesive. It should unite us, not divide us. So I am a smidge concerned about where the next stadium-filling act is going to come from that will draw in folks from across all generations and divides.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Kim Frankiewicz<br \/><\/strong><em>Executive vp of worldwide A&amp;R, Concord Music Publishing<br \/><\/em><strong>Tina Funk<br \/><\/strong><em>Managing director, Concord Music Publishing Germany, Switzerland and Austria<br \/><\/em><strong>Jaime Gough<br \/><\/strong><em>Managing director, Concord Australia and New Zealand<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tFor Frankiewicz, 2024 was a year that \u201creally demonstrated the global blend and reach\u201d of Concord\u2019s roster. \u201cWhile homegrown in the U.K., the global sensation that is [Charli\u00a0xcx\u2019s] <em>brat<\/em> is truly unmatched,\u201d she says. \u201cIt\u2019s been thrilling to be a part of a cultural phenomenon and work with Grammy-winning executive producer A.\u00a0G. Cook, as well as other contributors from our roster like George Daniel of The 1975, Julian Casablancas and more.\u201d After diligently curating and developing a roster of writers and producers around the globe in a variety of genres, Concord found success with producer Sammy Soso\u2019s work with South Africa\u2019s Tyla, as well as Thai superstar and Blackpink member Lisa, co-writing multiple songs on her breakout solo album, <em>Alter Ego<\/em>.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cOne of the biggest issues facing songwriters and publishers is the continually low royalty rates from streaming,\u201d Frankiewicz says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Shani Gonzales<br \/><\/strong><em>Managing director, Warner Chappell Music U.K.; head of international A&amp;R, Warner Chappell Music<br \/><\/em><strong>Natascha Augustin<br \/><\/strong><em>Managing director, Warner Chappell Music Germany<br \/><\/em><strong>Gustavo Menendez<br \/><\/strong><em>President, U.S. Latin and Latin America<br \/><\/em><strong>Santiago Menendez-Pidal<br \/><\/strong><em>President, Southern Europe<br \/><\/em><strong>Arica Ng<br \/><\/strong><em>President, Asia Pacific, Warner Chappell Music<br \/><\/em><strong>Matthieu Tessier<br \/><\/strong><em>Managing director, Warner Chappell Music France<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWarner Chappell Music had a fabulous year across all of its territories. Gonzales says she\u2019s especially proud of \u00adsignee Daniel Blumberg, who took home an Academy Award and a BRIT Award for his score for <em>The Brutalist<\/em>; producer P2J for his work on recent Burna Boy and Wizkid tracks; RAYE and Jon Shave for their abilities to \u201cgrow from strength to strength\u00a0\u2026 with cuts across the globe\u201d; and Amy Allen\u2019s Grammy songwriter of the year win. Allen\u2019s co-writes had a combined 11 straight weeks at No.\u00a01 on the <a href=\"https:\/\/www.billboard.com\/charts\/pop-songs\/\" target=\"_blank\" rel=\"noreferrer noopener\">Pop Airplay<\/a> chart in 2024 and 2025. \u201cThis win is massive in addressing the lack of recognition for songwriters,\u201d Gonzales says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe need to respect U.K. copyright law and not let AI companies trade on music without permission,\u201d Gonzales says. \u201cThe Make It Fair [campaign] was a great show of strength from the U.K. industry and goes to show just how big an issue it really is.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>David Gray<br \/><\/strong><em>Managing director, U.K.\/head of global A&amp;R<br \/><\/em><strong>Alexandra Lioutikoff<br \/><\/strong><em>President of Latin America and U.S. Latin<br \/><\/em><strong>Thomas Vidovic<br \/><\/strong><em>Managing director of Germany\/senior vp of Austria and Switzerland<br \/><\/em><strong>Yadira Moreno<br \/><\/strong><em>Managing director of Mexico and Central America\/vp of new business development, Latin America<br \/><\/em><strong>Ana Rosa Santiago<br \/><\/strong><em>Senior vp of Latin music, Universal Music Publishing Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSince UMPG\u2019s 2022 launch of its Global Creative Groups \u2014 a team of worldwide A&amp;R executives that expand creative opportunities for songwriters across different markets \u2014 the major publisher has found multiple ways to use its globe-spanning offices as a competitive advantage. \u201cWhether you\u2019re talking about the music, the artists or the business side, the reality is that geographical boundaries are less significant than ever,\u201d Lioutikoff says. In the last year, her team earned the ASCAP Latin publisher of the year award and celebrated signings and renewals with some of the best writers and artists in the region, including Car\u00edn Le\u00f3n, Carla Morrison, Gerardo Coronel, Icon, Telefe, Babas\u00f3nicos, Grupo Firme, Jorge Mexia, Deolli, JAO and JotaP\u00e9. \u201c[It\u2019s] another hugely successful year,\u201d Lioutikoff says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cWe are constantly fighting for our writers\u2019 work to be properly valued and fairly compensated,\u201d Lioutikoff says. \u201cThe globalization of Latin music is obvious, and we want the monetization to match.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Ben Katovsky<br \/><\/strong><em>CEO, Recognition Music Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIt\u2019s been a busy few months for Katovsky and his team at Recognition Music Group, the newly rebranded company formerly known as Hipgnosis. Katovsky took over the helm of the catalog giant last year from its founder, Merck Mercuriadis, and is hard at work to reestablish the company after a roller-coaster year that led to Blackstone acquiring its public fund for $1.6\u00a0billion. Now Recognition is pivoting to become a \u201cselective buyer\u201d of music rights, as Katovsky puts it. \u201cRecognition Music will be a very collaborative player in this space in ways that it was not historically. We want to work with other partners in this industry to do that.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cCreating a legitimate and fully licensed market for generative AI that both embraces innovation and safeguards and stimulates the future of music and investment in music.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Golnar Khosrowshahi<br \/><\/strong><em>Founder\/CEO<br \/><\/em><strong>Annette Barrett<br \/><\/strong><em>Managing director\/global strategic liaison, Reservoir<br \/><\/em><strong>Alison Wenham<br \/><\/strong><em>COO, Blue Raincoat Music; COO, Chrysalis Records<br \/><\/em><strong>Jeremy Lascelles<br \/><\/strong><em>Co-founder\/CEO, Blue Raincoat Music<br \/><\/em><strong>Hussain \u201cSpek\u201d Yoosuf<br \/><\/strong><em>Founder\/CEO, PopArabia; executive vp of international and emerging markets, Reservoir<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cReservoir\u2019s work in emerging markets continues to be a key strategic element of our business,\u201d Khosrowshahi says. The company has been investing heavily through its partnership with PopArabia in the Middle East\/North Africa region. One focus has been Egypt, where the company recently completed deals with rappers El Sawareekh, artist Omar Kamal and production\/distribution company RE\u00a0Media. Other deals in the region included Lebanese star Nancy Ajram and her label\/publisher, In2Musica, and Saudi Arabian hip-hop label Mashrex.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cA lack of transparency continues to plague the industry,\u201d Khosrowshahi says. \u201cWe need greater transparency regarding generative AI to ensure concrete copyright protections that yield clarity around, permission for and compensation of [intellectual property] being used to train AI platforms. Second, we need continued greater transparency from DSPs on the royalties paid to publishers and songwriters so we can continue advocating to close the gaps in compensation across the publishing and recorded-music industries.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Mary Megan Peer<br \/><\/strong><em>CEO<\/em><br \/><strong>Elizabeth Rodda<br \/><\/strong><em>President of U.S. Latin, Latin America and global society relations, peermusic<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tPeermusic continued to expand globally, especially in specific European markets like Poland and Norway. The independent publisher acquired Arctic Rights, Norway\u2019s largest indie publisher, and also opened its 40th branch in Poland. \u201cWe\u2019re expecting growth in both of these territories as a result of our direct presence there,\u201d Peer says. \u201cWe\u2019ve already had our Norwegian writers work with Asian writers in both Seoul and Taiwan and expect these collaborations to continue.\u201d Meanwhile, Rodda, who leads peermusic\u2019s Latin American operations, is continuing to build up the company\u2019s historically strong presence in the Spanish-speaking world.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cData,\u201d Peer says. \u201cIt is the key to getting our writers paid fairly and faster. I\u2019m hopeful that the combination of industry focus and AI computing power will help us attack this challenge.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Emily Stephenson<br \/><\/strong><em>President, Downtown Music Publishing<br \/><\/em><strong>Thando Makhunga<br \/><\/strong><em>Managing director, Sheer Publishing Africa<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tDowntown Music Publishing\u2019s songwriters contributed to four 2024 Latin Grammy wins, 13 wins at the 2025 BMI Latin Awards and one ASCAP El\u00a0Premio Award, according to its own tally. The division also struck global publishing deals in 2024 with Latin superstar Peso Pluma\u2019s Double\u00a0P Records and legendary Italian singer Mina, and \u201cParade\u201d by Downtown Publishing client and French composer Victor Le\u00a0Masne became the official theme song for the Paris Olympic and Paralympic Games. In addition to helping drive 40% year-over-year growth, Stephenson says these accomplishments helped Downtown achieve \u201csoundtrack global milestones.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe ongoing fight for fair compensation for songwriters,\u201d Stephenson says. \u201cDespite their role in creating the music that drives the industry, songwriters still face disproportionate earnings compared with the value their work generates.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"1860\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-peso-pluma-billboard-2025-bb07-1240.jpg?w=683\" alt=\"Players, Global Power Players 2025, Peso Pluma\" class=\"wp-image-1235971636\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-peso-pluma-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-peso-pluma-billboard-2025-bb07-1240.jpg?resize=200,300 200w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Downtown Music Publishing\u2019s deals in the past year included a global partnership with Double P Records, co-founded by Latin superstar Peso Pluma.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>David Ventura<br \/><\/strong><em>President\/co-managing director, U.K.\/senior vp of international<br \/><\/em><strong>Tim Major<br \/><\/strong><em>Co-managing director, U.K.<br \/><\/em><strong>Jorge Mejia<br \/><\/strong><em>President\/CEO, Latin America and U.S. Latin<br \/><\/em><strong>Nasra Artan<br \/><\/strong><em>Head of international A&amp;R<br \/><\/em><strong>Johnny Tennander<br \/><\/strong><em>Managing director, Scandinavia\/senior vp of A&amp;R international<br \/><\/em><strong>Patrick Strauch<br \/><\/strong><em>Managing director, Germany, Sony Music Publishing<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tTo foster the best songwriting around the globe, SMP \u201cplaces a real emphasis on creative collaboration across territories, with A&amp;R teams working hand in hand with their counterparts on a daily basis,\u201d Artan says. \u201cThe focus is truly on creating opportunities for our songwriters beyond their home territories and helping ensure their songs travel.\u201d In the last 12 months, Artan says the company has hosted songwriting camps in locations including Ghana, Spain, Taiwan and South Africa, inviting talent from around the world to connect and collaborate.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe continued existence of traditional \u2018buyout\u2019 structures in some emerging markets,\u201d Artan says. \u201cIn a world where music can go big internationally from day one, it is really important for songwriters and their teams to understand the value of their work and ensure they avoid unintentionally stifling future success and opportunities for a short-term gain up front with these types of deals.\u201d<\/p>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Live<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Siavash Aghaiepour<br \/><\/strong><em>Talent agent, HRBooking<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cOver the past year, we\u2019ve had the opportunity to execute major international tours and expand our global footprint through strategic partnerships,\u201d says Aghaiepour, who has worked with 21\u00a0Savage, A$AP Rocky, Cardi\u00a0B and others. He points to HRBooking\u2019s collaborations as an agency and a promoter with companies such as Live Nation and IAG, as well as its support of live events from Coachella and Rolling Loud to Juicy Fest in Australia. The company, which is headquartered in the United Arab Emirates, also secured artist bookings at cultural tentpoles like Fashion Week, the Super Bowl and Formula\u00a01 races. Of the agency, which boasts 30 years in business, Aghaiepour says, \u201cRelationships and loyalty mean everything to us. Our focus is always on doing good, honest business while continuing to grow with integrity and purpose.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music industry today in a word:<\/strong> \u201cFast. The pace of the industry is relentless \u2014 from how artists break to how trends shift and content circulates. Things can change overnight, and as a company, we\u2019ve had to stay nimble, evolve quickly and anticipate the next move.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Alfredo Alonso<br \/><\/strong><em>Partner\/entertainment director<br \/><\/em><strong>Daniel Merino<br \/><\/strong><em>Entertainment manager\/promoter, Bizarro Live Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBizarro Live Entertainment promoted some of the most important Latin tours in Chile, Peru, Colombia and Ecuador in the last 18 months. Most notably, Karol\u00a0G\u2019s <em>Ma\u00f1ana Ser\u00e1 Bonito<\/em> two-show stop at Estadio San Marcos in Lima, Peru, and three-show stint in Chile\u2019s Estadio Nacional in April 2024 generated more than $25\u00a0million in revenue combined. Other key concerts the company \u00adpromoted included Man\u00e1, Ha*Ash and Duki, all in both Chile and Peru, as well as Emilia in Chile, Peru, Colombia and Ecuador. \u201cWe also produce and promote the Vi\u00f1a Del Mar Festival\u201d in Chile, Alonso says, \u201cthe most important Latin festival in the world.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cTo work and create new spaces and formats for live music in an industry full of concerts,\u201d Alonso says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Alejandro Arce<br \/><\/strong><em>CEO, Zignia Live<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tZignia Live\u2019s operation includes venue management of Mexico\u2019s Arena CDMX and Arena Monterrey and live-event production and ticket sales through its proprietary platform Superboletos. The vertical business model helped it sell over 2\u00a0million tickets to 250 events in Mexico last year, including more than 20 stadium dates. Standouts include 24 dates and over 500,000 tickets sold for Los Temerarios\u2019 Hasta Siempre Tour, including eight sellouts at Arena CDMX. Zignia also promoted 22 dates for icon Luis Miguel, selling 300,000 tickets, and selling out 10 shows at Arena CDMX. Zignia is the official promoter of the NBA in Mexico, where it hosts games by the Boston Celtics, Miami Heat and Chicago Bulls. \u201cOur next challenge is opening Arena Guadalajara,\u201d Arce says. \u201cIn addition to promoting shows, we transform experiences.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Melvin Benn<br \/><\/strong><em>Managing director, Festival Republic<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBenn runs Live Nation-owned Festival Republic, one of the leading U.K. festival promotion companies and home to a portfolio of festivals including Reading\u00a0&amp; Leeds, Latitude, Wireless, Wilderness, The Great Escape and Electric Picnic. The company also hosts shows at outdoor music venues such as Finsbury Park and Gunnersbury Park. Festival Republic\u2019s Wireless Festival won best festival at the 2024 Music Week Awards. Meanwhile, Reading\u00a0&amp; Leeds benefited from continued innovations with a new, 40,000-capacity open-air Chevron dance stage and featured acts like The Prodigy, Nia Archives and Denzel Curry. Benn has also supported the efforts of Live Nation and the Rio Ferdinand Foundation to increase access to music industry careers. In March, he relaunched the ReBalance initiative to support female and nonbinary artists, which, as he told <em>Music Week<\/em>, \u201cmade a genuine positive impact\u201d during its first three years.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Dion Brant<br \/><\/strong><em>CEO, Frontier Touring<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cWe\u2019re seeing artist trajectories moving faster than ever before, and our team has shown great prowess at thinking one or two steps ahead,\u201d Brant says. Gracie Abrams played a sold-out run of 3,000- to 5,000-capacity shows in Australia, which sold roughly 21,000 tickets in 2024. \u201cShe is now returning this year to a 12-date arena run that is tracking to sell out at 150,000 tickets,\u201d he adds. Likewise, when Benson Boone\u2019s single \u201cBeautiful Things\u201d took off, Frontier rebooked his run of shows from sold-out theaters and clubs into sold-out midsize venues, and Teddy Swims has already progressed to a multidate arena tour.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cClimate risk is real. We need to be clever and work out how promoters, affected venues, festivals and artists can work together with the insurance industry to protect everyone in the business \u2014 because extreme weather events will continue to happen.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"1860\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-gracie-abrams-billboard-2025-bb07-1240.jpg?w=683\" alt=\"Players, Global Power Players 2025, Gracie Abrams\" class=\"wp-image-1235971637\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-gracie-abrams-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-gracie-abrams-billboard-2025-bb07-1240.jpg?resize=200,300 200w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">After a 2024 Australia tour playing 3,000- to 5,000-capacity shows, Gracie Abrams returned to the region this spring for a 12-date arena swing promoted by Frontier Touring.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Chris Bray<br \/><\/strong><em>President, Europe, Legends\/ASM Global<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cOver the past 18 months, we\u2019ve made tremendous progress in our European business through transformative redevelopments, strategic expansions and new partnerships,\u201d Bray says, highlighting the transformation of Avicii Arena in Stockholm, the redevelopment of AO Arena in Manchester, England, and the launch of the new ChorusLife Arena in Bergamo, Italy. The Legends\/ASM Global portfolio has also expanded with the additions of Sheffield City Hall and Sheffield Utilita Arena in England and its expansion in Portugal with taking over operations at Lisbon\u2019s LX\u00a0Factory. \u201cPerhaps our most significant recent achievement has been seamlessly integrating the exceptional teams at Legends with our ASM teams,\u201d Bray adds, \u201ccreating what I believe is now the best team in the industry.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cOne of the biggest challenges in live music is making it sustainable when costs are on the rise.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Paul Dainty<br \/><\/strong><em>President\/CEO, TEG Dainty<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn 2023, Dainty was appointed an Officer of the Order of Australia for his \u201cdistinguished service to the community,\u201d and he continues to distinguish himself. He booked Hugh Jackman\u2019s international touring (including dates in Europe and North America) and several Broadway productions including <em>Tina: The Tina Turner Musical<\/em>, which sold more than 780,000 tickets for its Australia run. TEG\u2019s 2025 shows include Cyndi Lauper, Katy Perry and comedian Nikki Glaser. The promoter that operates under the umbrella of TEG \u2014 the tech, live-entertainment and ticketing company \u2014 will also bring video game <em>Stardew Valley<\/em>\u2019s theatrical show, <em>Symphony of Seasons<\/em>, to Australia and New Zealand this fall. Among Dainty\u2019s top-grossing shows reported to Billboard Boxscore is a three-night stand by Jerry Seinfeld at the Rod Laver Arena in Melbourne, Australia, last June that grossed $5.5\u00a0million.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cExchange rates for international touring; increased costs across the board.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Sebastian de la Barra<br \/>Maximiliano del Rio<\/strong><br \/><em>Partners\/promoters, Lotus Producciones<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWith the launch of Lotus Records \u2014 the booking, management and recording-deal division of Lotus Producciones \u2014 Del\u00a0Rio and De\u00a0La Barra can support local artists with live shows while focusing on international markets. \u201cWe are developing our artists from theaters and clubs to arenas and stadiums,\u201d Del Rio says, highlighting Easykid\u2019s booking at Pal Norte and Vive Latino and Soulfia at Lollapalooza Argentina. Between February and March, Lotus Records also teamed with its artists Francisca Valenzuela, Joe Vasconcellos, Movimiento Original and Lucybell to offer free shows throughout Santiago, Chile, where over 20,000 fans gathered.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cExploring the development of new venues is a must in today\u2019s business,\u201d Del Rio says. \u201cJust one arena is not enough for a market like Santiago, with local and Latin live music being so strong after the pandemic.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Dennis Desmond<br \/><\/strong><em>Chairman, Live Nation U.K. and Ireland<br \/><\/em><strong>Dennis Argenzia<br \/><\/strong><em>President of global touring, Asia Pacific, Live Nation<br \/><\/em><strong>Marek Lieberberg<br \/><\/strong><em>CEO\/managing director, Live Nation Germany, Switzerland and Austria<br \/><\/em><strong>Erik Hoffman<br \/><\/strong><em>President, Live Nation Canada<br \/><\/em><strong>John Reid<br \/><\/strong><em>President, Live Nation Europe, Middle East and Asia<br \/><\/em><strong>Mark Vaughan<br \/><\/strong><em>Senior vp, Live Nation Australia and New Zealand<br \/><\/em><strong>Roberto De Luca<br \/><\/strong><em>President<br \/><\/em><strong>Corrado Rizzotto<br \/><\/strong><em>Head promoter, Live Nation Italy<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tDesmond says that 2024 \u201cwas the best year ever for live music with fantastic sales for Coldplay, Taylor Swift, P!nk and incredible growth for artists like Charli\u00a0xcx, Fontaines\u00a0D.C., Sleep Token, Chappell Roan, Sabrina Carpenter, RAYE and Teddy Swims.\u201d He notes the strong buzz for marquee Live Nation shows from Oasis, Beyonc\u00e9, Robbie Williams, Kendrick Lamar\/SZA, Lana Del Rey and Drake. \u201cThere is nothing better than a good live show,\u201d Desmond says. \u201cArtists continue to excel; the future is bright.\u201d In February, Live Nation reported it had achieved a record $2.2\u00a0billion worldwide in adjusted operating income in 2024, up 14%, on record revenue of $23.5\u00a0billion, up 2%. Despite having 30% fewer stadium shows in 2024, the total number of fans grew to a record 151\u00a0million from nearly 55,000 Live Nation events, up 9.2% year over year, according to the company.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Marcelo Figoli<br \/><\/strong><em>Owner\/CEO, Fenix Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tArgentina-based conglomerate Fenix Entertainment \u2014 which encompasses live shows, amusement parks, soccer teams and media \u2014 has achieved many milestones as a global entertainment company. \u201cHowever, without a doubt, one of the most significant achievements in the past 18 months was Luis Miguel\u2019s world tour,\u201d Figoli says. The executive partnered with Henry C\u00e1rdenas\u2019 C\u00e1rdenas Marketing Network for Luis Miguel\u2019s 2023-24 tour, which became not only the highest-grossing tour by a Latin artist of the year but also the top-grossing tour by a Latin artist ever. The outing welcomed more than 2.8\u00a0million fans and grossed over $404.4\u00a0million.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cFor me, it has always been the same\u00a0\u2026 happiness.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Kaori Hayashi<br \/><\/strong><em>President\/CEO, Hayashi International Promotions<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tHIP leads one of Japan\u2019s largest and most established concert promotion companies and enjoyed a string of big-time sellouts in the last year that included two sold-out Dua Lipa shows at Saitama Super Arena, the \u201cLevitating\u201d singer\u2019s first arena dates in Japan. Hayashi also booked \u201ca record-breaking seven sold-out Tokyo Dome shows of Bruno Mars in January 2024,\u201d she says, along with three sellout Maroon\u00a05 shows at the 55,000-capacity Tokyo Dome, \u201csurpassing the box-office receipts of their groundbreaking 2022 tour in Japan.\u201d In April, Live Nation acquired HIP, giving the world\u2019s largest concert promoter a major new presence in the market.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cSome resistance to higher-priced tickets, which previously had been the first ticket tier to sell out in Japan.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Ashish Hemrajani<br \/><\/strong><em>Founder\/CEO, BookMyShow<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBookMyShow has played a pivotal role in redefining India\u2019s live-entertainment landscape, establishing the country as a must-visit destination on global touring circuits. The company worked with Live Nation to bring the iconic Lollapalooza festival to Mumbai, India, starting in 2022 and, this year, hosted headliners Green Day and Shawn Mendes. \u201cThe momentum has been accelerating through pop music as well, with Maroon\u00a05\u2019s India tour and the six-city Ed Sheeran +-=\u00f7x Tour spanning seven shows in February 2025, following a successful Mumbai show in March 2024 with over 50,000 fans,\u201d Hemrajani says. BookMyShow and AEG Presents Asia co-promoted Sheeran\u2019s shows this year. BookMyShow also produced and promoted Coldplay\u2019s <em>Music of the Spheres<\/em> world tour across Mumbai and Ahmedabad, which broke the record for the biggest stadium shows in the 21st century.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cTransformative.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Alex Hill<br \/><\/strong><em>President\/CEO, AEG International<br \/><\/em><strong>Adam Wilkes<br \/><\/strong><em>President\/CEO, AEG Presents, Europe and Asia-Pacific<br \/><\/em><strong>John Langford<br \/><\/strong><em>COO, AEG Europe<br \/><\/em><strong>Jim King<br \/><\/strong><em>CEO of European festivals, AEG Presents<br \/><\/em><strong>Steve Homer<br \/><\/strong><em>CEO, AEG Presents U.K.<br \/><\/em><strong>Michael Harrison<br \/><\/strong><em>Senior vp of global touring<br \/><\/em><strong>Simon Jones<br \/><\/strong><em>Senior vp of international touring, AEG Presents<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAEG reorganized its operations for Asia-Pacific and Europe earlier this year following the sale of its share in ASM Global and a corporate restructuring to bolster its international divisions. Wilkes was named to the new position of president\/CEO of AEG Presents, Europe and Asia-Pacific, while Hill was appointed to head of AEG International. Together, they will continue overseeing projects including the development of the 6,000-seat theater and UOB Live entertainment district in Bangkok; the Bangkok Mall Arena, a multipurpose arena project in Nagoya, Japan; and an arena-anchored entertainment district project planned for Expo Park in Osaka, Japan.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe industry is still recovering from the effects of the pandemic,\u201d Harrison says. \u201cDespite some massive recent tours, rising costs, insurance challenges and global economic uncertainty continue to make touring \u2014 especially for midlevel artists \u2014 financially difficult. These factors hinder artist development and the ability to build international audiences sustainably.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Walter Kolm<br \/><\/strong><em>Founder\/CEO<br \/><\/em><strong>Pascual Egea<br \/><\/strong><em>Head of Europe, WK Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tLatin music continues to make waves worldwide, and WK Entertainment artists are helping to drive its success. \u201cMaluma is setting the tone for Latin music globally \u2014 his +\u00a0Pretty\u00a0+\u00a0Dirty 2025 Tour is selling out arenas across Europe, including three nights at Madrid\u2019s Movistar Arena, each with over 15,000 fans,\u201d Kolm says. The company also celebrated Carlos Vives\u2019 Person of the Year win at the 2024 Latin Grammys, calling it \u201ca well-deserved recognition for his impact on our culture.\u201d Rising star Emilia \u2014 <em>Billboard Espa\u00f1ol<\/em>\u2019s February cover star \u2014 sold out 10 shows at Movistar Arena in Buenos Aires, Argentina, in April 2024 in 10 hours and packed four nights at Estadio V\u00e9lez in Argentina, according to Kolm. \u201cIt\u2019s an exciting time,\u201d he adds, \u201cnot just for our artists, but for Latin music as a whole on the global stage.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cFans just don\u2019t have the same [disposable] income as before, and globally, we\u2019re seeing the effects,\u201d Kolm says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jessica Koravos<br \/><\/strong><em>President of international<br \/><\/em><strong>Gary Hutchinson<br \/><\/strong><em>Executive vp of global touring and content, Oak View Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe U.S.-based Oak View Group opened its first international arena, Co-op Live in Manchester, England, in May 2024 with a show from veteran local band Elbow. Despite several rescheduled concerts and a three-week delay due to safety issues, the arena has been a triumph for the OVG team, and it sold over 1\u00a0million tickets for 60 concerts by the close of its first calendar year. And with the launch of OVG Stadia last fall, Hutchinson believes 2025 will be even bigger for the global team. \u201cI would highlight the level of stadium shows we are handling with our clients in 2025,\u201d he says. \u201cThe market is busier than ever, and we have a huge 2025 ahead.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cKeeping up with the ever-changing ecosystem in such a big business while also meeting the greater consumer demands,\u201d Koravos says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Simon Moran<br \/><\/strong><em>Managing director, SJM Concerts<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tMoran leads Manchester, England-based SJM Concerts, which finished at No.\u00a05 on <em>Billboard<\/em>\u2019s year-end 2024 Top Promoters chart, with the equivalent of $347.6\u00a0million and 4.4\u00a0million tickets sold across 733 shows. Among SJM\u2019s 20 highest-grossing engagements were 10 by pop group Take That, including a six-night stand at London\u2019s O2 \u00adArena that sold 90,811 tickets and grossed the equivalent of $11.3\u00a0million. SJM has teamed with Live Nation, MCD Productions and DF\u00a0Concerts for the long-awaited return of Oasis, with the Gallagher brothers booked for a 19-date U.K. and Ireland tour this summer. The company\u2019s 2023 year-end financial report stated: \u201cWe remain focused on connecting artists with their fans and understanding the needs of the fan base.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-take-that-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Take That\" class=\"wp-image-1235971638\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-take-that-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-take-that-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Take That\u2019s most recent U.K. tour included a six- night stand at the O2 Arena in London, promoted by SJM Concerts, that drew nearly 91,000 fans.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Huston Powell<br \/><\/strong><em>Promoter, C3 Presents<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSince its inception as a touring festival in 1991, \u00adLollapalooza has staged its U.S. edition at Chicago\u2019s Grant Park and, beginning in 2010, has expanded internationally to markets including Chile, Argentina, Brazil, France, Germany and Sweden. In 2022, Lollapalooza India debuted in Mumbai with C3\u00a0Presents working alongside Indian promoter-ticketer BookMyShow. \u201cWe had our first Lollapalooza India festival sell out this year,\u201d Powell says of the event that included headlining performances from Green Day and Shawn Mendes. \u201cThis was only our third edition, and our partners, BookMyShow, worked incredibly hard to ramp up and deliver a world-class show in a market where multigenre shows like Lolla have never existed before.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cAs a festival promoter, we continually are challenged to look for ways to provide the best fan experience to stand out from the endless options fans have today.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Klaus-Peter Schulenberg<br \/><\/strong><em>CEO, CTS Eventim<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWith 2024 revenue of 2.8\u00a0billion euros ($3.2\u00a0billion) \u2014 up 19.1% over 2023 \u2014 CTS\u00a0Eventim is Europe\u2019s biggest ticketing company and concert promoter, and it\u2019s making global moves. In late 2023, the company broke ground on a Milan arena to open in 2026, expanded in South America and France and partnered with AXS on ticketing for the 2028 Summer Olympics in Los Angeles. In 2024, the company also closed its deal to acquire See Tickets, which \u201creinforced our position as one of the world\u2019s leading ticketing providers,\u201d Schulenberg says. \u201cThis unique combination of local expertise and global reach enables us to offer artists a truly international touring platform deeply rooted in local markets.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cOne of the biggest opportunities \u2014 and responsibilities \u2014 for the music industry is to make even better use of data. At CTS Eventim, we already leverage our data to help artists and promoters connect with their audiences more effectively and to create outstanding fan experiences.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Tricia Silliphant<br \/><\/strong><em>Managing director of music and live entertainment, Maple Leaf Sports &amp; Entertainment<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tDespite rising costs, Silliphant and MLSE still find ways to consistently deliver record-breaking grosses, as well as ticket and merchandise sales for Toronto venues like Scotiabank Arena, the Coca-Cola Coliseum and BMO Field. \u201cToronto is a market known as one of the most culturally diverse cities in the word,\u201d Silliphant says. \u201cThis rich diversity is mirrored in our venues showcasing an international scope of content.\u201d While full-scale renovations are underway at Scotiabank Arena and BMO Field, Silliphant remains more motivated than ever to match the demand for live music across the globe, stating, \u201cWe look forward to the continued growth possibilities as we invest to meet the constantly evolving needs of artists and fans alike.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe rising cost of touring and producing live events is an issue that stands out. From production expenses to travel and labor costs \u2014 and, in our case, the fluctuating Canadian dollar \u2014 combined with local or venue-specific operating costs, all continue to increase significantly.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Alejandro Sober\u00f3n<br \/><\/strong><em>Founder\/CEO<br \/><\/em><strong>Leizer Guss Guss<br \/><\/strong><em>Festivals director, OCESA<br \/><\/em><strong>Octavio Padilla<br \/><\/strong><em>Director, OCESA Seitrack<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tNow part of Live Nation, OCESA remains a leader in the live-entertainment landscape across Latin America, particularly in Mexico and Colombia, setting new standards in production, reach and fan engagement. \u201cOne of our proudest achievements has been the full renovation of Estadio GNP Seguros \u2014 now recognized as the world\u2019s leading concert venue,\u201d Sober\u00f3n says of Mexico City\u2019s iconic venue formerly known as Foro Sol, home to Shakira\u2019s unprecedented seven-show residency as part of her <em>Las Mujeres Ya No Lloran<\/em> world tour. Guss\u00a0Guss highlights how \u201cfast and effective\u201d OCESA was to jump on the new wave of regional Mexican music with the development of two Mexico City events: Arre Festival and the female-\u00adcentered Hera HSBC Festival. For Padilla, OCESA Seitrack\u2019s alliance with Warner Music on Touring the World, a booking agency based in Colombia to develop Warner\u2019s roster in America and Europe, is worth celebrating.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cUnstoppable,\u201d Padilla says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jasmine Young<br \/><\/strong><em>Co-founder, West Africa Music &amp; Arts Festival<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tYoung says that last June, when the inaugural, four-day West Africa Music\u00a0&amp; Arts Festival was held in Accra, Ghana, 20,000 fans attended Area Code Jam, the closing-night concert in partnership with Ghana\u2019s premiere urban radio station, YFM; Ghanaian singer Black Sherif headlined. \u201cWe have built bridges between global music markets and emerging talent in West Africa, opening new pathways for cross-border collaborations and creating sustainable opportunities for artists and music professionals alike,\u201d says Young, who is also director of the Warner Music\/Blavatnik Center for Music Business at Howard University in Washington, D.C. She adds that this year\u2019s WAMA festival will return to Accra in June.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe lack of practical knowledge for aspiring executives and artists\u201d is a pressing concern, Young says. \u201cOur goal is to educate, excite and empower the next generation of music industry leaders.\u201d<\/p>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Agencies<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Emma Banks<br \/>Chris Dalston<br \/>Mike Greek<br \/>Marlene Tsuchii<\/strong><br \/><em>Co-heads of international touring<br \/><\/em><strong>Nigel Hassler<br \/><\/strong><em>Music touring agent, CAA<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe team guided stars like Charli\u00a0xcx, Gracie Abrams, Sabrina Carpenter and Tate McRae on global tours in increasingly larger venues, from \u201ctheaters to arenas, as well as headlining festivals and stadiums,\u201d Tsuchii says. Alongside these young female powerhouses, clients including Sam Fender, Hozier and Noah Kahan achieved similar success on the road. Kahan\u2019s 2024 run ranked as one of the year\u2019s top-grossing tours, bringing in $102\u00a0million and drawing 1.1\u00a0million fans. Meanwhile, CAA\u2019s music brand partnership department used this momentum to secure major endorsement deals for multiple clients.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cUnfortunately, we are faced with the same issues we have combated for years: rising ticket charges, the secondary-ticketing market and scalping,\u201d Tsuchii says. \u201cThese issues remain as much of a problem as they have for years, and now, with the rabid young fan base for these rising superstars, the appetite for tickets is unprecedented.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"1022\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-sam-fender-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, Sam Fender\" class=\"wp-image-1235971639\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-sam-fender-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-sam-fender-billboard-2025-bb07-1240.jpg?resize=300,247 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">In March, Sam Fender won the BRIT Award for best alternative rock act after his album <em>People Watching<\/em> earned the biggest opening week for a British solo act since 2022.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Matt Bates<br \/><\/strong><em>Managing partner\/CEO<br \/><\/em><strong>Rick Levy<br \/><\/strong><em>Partner\/board member<br \/><\/em><strong>Ben Winchester<br \/><\/strong><em>Board member\/agent<br \/><\/em><strong>Pete Nash<br \/><\/strong><em>Partner\/agent, Primary Talent International<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe powerhouse U.K. indie agency continues to place its artists on the biggest stages, including Glastonbury, where this year clients The\u00a01975 will headline the festival\u2019s first night. (Other clients including beabadoobee, Wolf Alice and The Libertines are also on the bill.) After brief stints under ICM and then CAA, Primary Talent International went independent once again in 2023, and Levy says it\u2019s proud to \u201cremain an independent music-only agency\u00a0\u2026 able to book so many of the incredible artists on our roster into the largest international festival in the world, giving fans what they want.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cAI,\u201d Levy says. \u201cThis will not be the first time that technology has disrupted the business. But the challenge for us as agents is to ensure that the opportunities that are presented benefit not just the labels and big companies operating in our ecosystem but the artists themselves, who are our sole concern.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Tomas Cookman<br \/><\/strong><em>Founder, Nacional Records\/Latin Alternative Music Conference; partner, Magnus Talent Agency<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tCookman \u2014 whose Nacional Records label is marking its 20th anniversary with ongoing success by YADAM, Nortec Collective, Los Master Plus, DJ\u00a0Raff, Marr\u00f3n and Marco Flores y\u00a0la Jerez \u2014 more recently partnered with Magnus Talent Agency (Marc Anthony and Michel Vega\u2019s company) to unite booking and management teams across countries. Cookman also celebrated the 25th anniversary of the Latin Alternative Music Conference. \u201cBoth our virtual format and our recent in-person conference, which was our biggest one yet, were impactful to both industry and artists,\u201d he says. Cookman adds that on the management side, \u201cthe global growing success of Trueno has been a highlight for me.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jeff Craib<br \/><\/strong><em>CEO<br \/><\/em><strong>Tom Kemp<br \/><\/strong><em>President<br \/><\/em><strong>Joel Baskin<br \/><\/strong><em>Vp, The Feldman Agency<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tCanadian powerhouse The Feldman Agency remained one of the country\u2019s key live players in 2024. According to the company, among its achievements are three sold-out Shania Twain performances in Newfoundland (which sold over 45,000 tickets and grossed more than $8\u00a0million) and a very successful Avril Lavigne arena tour (which sold over 100,000 tickets for nearly $10\u00a0million in gross). \u201cAfter 50 years in business, we\u2019ve just celebrated our best year yet,\u201d Craib says, citing \u201ca year marked by growth in arena-level touring, exciting new artist signings, talent-buying and a significant year-over-year increase in global bookings.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe new costs of touring and reaching the fans,\u201d Craib says.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"1864\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-avril-lavigne-billboard-2025-bb07-1240.jpg?w=681\" alt=\"Players, Global Power Players 2025, Avril Lavigne\" class=\"wp-image-1235971640\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-avril-lavigne-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-avril-lavigne-billboard-2025-bb07-1240.jpg?resize=200,300 200w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">The Feldman Agency in Canada booked Avril Lavigne\u2019s 2024 arena tour, which grossed nearly $10 million.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Amy Davidman<br \/>Devin Landau<\/strong><br \/><em>Founding partners, TBA Agency<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOver the past year, TBA Agency\u2019s clients have expanded their international reach, with Argentina\u2019s Ca7riel\u00a0&amp; Paco Amoroso appearing at such events as Coachella, Glastonbury, Roskilde and Fuji Rock. The company also booked the first shows for artists such as Mexico\u2019s D\u00e1maris B\u00f3jor and Australia\u2019s Delivery. \u201cWe are not afraid to get involved early and work with the artist and their team from the ground up,\u201d Davidman says. \u201cWe believe that hard work and a clear strategy early in an artist\u2019s career can really position them for future success.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cWith all the current uncertainty worldwide, we are worried about the accessibility of our internationally based artists, our politically outspoken artists and our queer artists,\u201d Davidman says. \u201cWhat can we do as agents to help support not only our clients but also the cultural institutions we lean on for funding and opportunities? We all need to support this touring ecosystem from all angles over the coming years.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Lucy Dickins<br \/><\/strong><em>Global head of contemporary music and touring<br \/><\/em><strong>Josh Javor<br \/><\/strong><em>Partner\/co-head of London office<br \/><\/em><strong>Brian Cohen<br \/>Rob Markus<\/strong><br \/><em>Partners\/agents<br \/><\/em><strong>James Simmons<br \/><\/strong><em>Agent, WME<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAmong WME clients, Coldplay\u2019s <em>Music of the Spheres<\/em> tour surpassed $1\u00a0billion in global revenue; Luis Miguel\u2019s run has become the highest-grossing tour by a Latin artist of all time; Dua Lipa\u2019s <em>Radical Optimism<\/em> tour has sold over 350,000 tickets and grossed $43.4\u00a0million so far, with more than 50 dates left on the books through December; and Olivia Rodrigo\u2019s <em>GUTS<\/em> tour sold over 1\u00a0million tickets. Plus, Linkin Park and Zach Bryan scored huge numbers on tours that continue into 2025. Dickins notes the booking advantage of WME\u2019s presence in the Asia-Pacific region and says the agency also recently expanded its Latin division by opening a Miami office. \u201cI\u2019m proud of our truly global presence,\u201d she says, \u201cwhich continues to grow year after year.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe rising cost of touring continues to be top of mind for us as it affects both artists and fans,\u201d Dickins says. \u201cLogistics, travel and accommodation costs have made it more difficult for emerging artists to get out on the road.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jon Ollier<br \/><\/strong><em>CEO\/agent, One Fiinix Live<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe British firm booked a worldwide arena tour for Japanese artist Ado, \u201cwhich we hope could become the biggest international tour for a Japanese artist,\u201d Ollier says. One Fiinix Live also promoted an eight-city regional tour for Ed Sheeran on the Indian subcontinent, \u201cmuch of which was a first for a Western artist,\u201d he says, and worked on Sheeran\u2019s six-night stand in Hangzhou, China. \u201cAll of which,\u201c Ollier says, \u201cspeaks to international business cooperation on a profound scale.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cI am very sad to say it, but I think, yet again, we find our industry\u2019s biggest threat intertwined with that of the rest of humanity: global security.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Peter Pappalardo<br \/><\/strong><em>Executive vp\/head of global touring<br \/><\/em><strong>Keith Naisbitt<br \/><\/strong><em>Executive vp of global touring, Independent Artist Group<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cOur international roster continues to grow with headlining talent who had great success this past year,\u201d Pappalardo says. That includes Billy Joel, who last August sold out Principality Stadium in Cardiff, Wales; Rod Stewart, who sold out several European arenas and booked the Legends slot at this year\u2019s Glastonbury Festival; and Disturbed, Ghost, Falling in Reverse and Ne-Yo, all of whom also sold out arenas on the continent, according to Pappalardo. He adds that grosses for Dream Theater\u2019s European and South American shows \u201cwere double what they have done in the past.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cProfitability,\u201d Pappalardo says. \u00ad\u201cTicket sales and fan support have been great, but the cost of touring, along with high taxes, makes for \u00adever-challenging margins.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Julien Paquin<br \/>Vinny Cinquemani<\/strong><br \/><em>Co-presidents, Paquin Artists Agency<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe Canadian agency had plenty of wins at home \u2014 including signing U.S. artists such as The Offspring, John Fogerty and Papa Roach for representation in Canada \u2014 but those were just one part of an impressive global expansion. In recent months, Paquin says, \u201cour international business has seen remarkable growth, with record-setting success in Canada and significant breakthroughs across the U.S., Australia, [Middle East and North Africa] and South America.\u201d Together, those moves helped Paquin\u2019s \u201ctouring business [shatter] previous milestones, driving strong engagement and revenue growth across these key markets,\u201d he adds.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cResilient,\u201d Paquin says. \u201cThe industry has not only adapted but remained strong in the face of challenges, with a major return to live touring fueled by heightened demand, excitement and urgency. This persistence has led to some of the most successful box-office years in recent history.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"827\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-john-fogerty-billboard-2025-bb07-1240.jpg?w=1024\" alt=\"Players, Global Power Players 2025, John Fogerty\" class=\"wp-image-1235971642\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-john-fogerty-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-john-fogerty-billboard-2025-bb07-1240.jpg?resize=300,200 300w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">Paquin Artists Agency signed John Fogerty for representation in Canada.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Narc\u00eds Rebollo Melci\u00f3<br \/><\/strong><em>President\/CEO, Global Talent Services<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOriginally launched by Universal Music Group in 2007 as a full-service Latin artist services agency focused on management, booking, promotion and brand partnerships, GTS now has 10 offices in key markets, a roster of 150 acts and has \u201csolidified its position as the first global Latin management company,\u201d Rebollo Melci\u00f3 says. Notably, according to GTS, Morat\u2019s stadium tour generated over $50\u00a0million in revenue across 25 stops, David Bisbal\u2019s <em>Todo es Posible en Navidad<\/em> album featured a performance atop New York\u2019s Empire State Building and Aitana premiered her <em>Metamorphosis<\/em> documentary on Netflix and forged a major partnership with Santander Bank for ticket presales. Additionally, Spanish singer-songwriter Pablo Albor\u00e1n joined the roster, GTS managed the first edition of the talent show <em>Operaci\u00f3n Triunfo<\/em> on Amazon Prime and its direct-to-consumer platform sold over 1\u00a0million tickets, \u201ca testament to the company\u2019s innovative approach, utilizing technology, data and [customer relationship management] to benefit the artists,\u201d Rebollo Melci\u00f3 adds.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Neil Warnock<br \/><\/strong><em>Co-head of U.K.\/head of global touring<br \/><\/em><strong>Irene Agbontaen<br \/><\/strong><em>Director of artist brand strategy, music brand partnerships<br \/><\/em><strong>Tom Jones<br \/>Scott Mantell<br \/>James Wright<\/strong><br \/><em>Music agents, UTA<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWright says that UTA has been \u201cincreasingly strategic and intentional\u201d about building teams around the company\u2019s clients, a roster that includes global superstars and touring juggernauts such as Karol\u00a0G and Bad Bunny. The approach is \u201creally delivering\u201d as the agency and its clients maneuver in an increasingly dynamic international market. \u201cAs our teams become more than the sum of their parts,\u201d Wright says, \u201cwe\u2019re unlocking new opportunities for our artists \u2014 be that new audiences in live or connecting them to the right brand and commercial partners.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cCosts,\u201d Wright says. \u201cOn the artist side, touring has become increasingly expensive due to inflation, rising production costs and logistical challenges, making it difficult for artists to break even. On the venue side, operating costs are substantial, making it especially challenging for grassroots venues to remain financially viable \u2014 despite their crucial role in nurturing the next generation of headliners.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>James Whitting<br \/><\/strong><em>Executive vp\/managing executive<br \/><\/em><strong>Dave Blackgrove<br \/>Michael Harvey-Bray<br \/>Adele Slater<\/strong><br \/><em>Senior vps<br \/><\/em><strong>Anna Bewers<br \/><\/strong><em>Vp, Wasserman Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWhitting says Wasserman Music \u201ccontinues to be the agency known for breaking acts globally,\u201d citing the incredible success of Chappell Roan as a \u201cgreat, recent and obvious\u201c example, but \u201cthere are plenty more.\u201d He calls this sustained success a testament to the company\u2019s strength in A&amp;R, but also a function of its creative approach to touring and long-term career development. \u201cThe old, traditional ways don\u2019t work anymore,\u201d Whitting says. \u201cYou need to think differently, tour differently, market differently and time everything perfectly at global scale. When all those things work together in concert \u2014 no pun [intended] \u2014 the results are plain for all to see.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cLive,\u201d Whitting says.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"1736\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-chappell-roan-billboard-2025-bb07-1240.jpg?w=731\" alt=\"Players, Global Power Players 2025, Chappell Roan\" class=\"wp-image-1235971641\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-chappell-roan-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-chappell-roan-billboard-2025-bb07-1240.jpg?resize=214,300 214w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">In the wake of winning the best new artist Grammy Award in February, Chappell Roan has upcoming festival dates across Europe booked by Wasserman Music.<\/figcaption><\/figure>\n<\/div>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Associations<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Manuel Abud<br \/><\/strong><em>CEO, Latin Recording Academy<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThis year, the Latin Recording Academy announced a new field and category for best music for visual media and a new category for best roots song \u2014 singles or tracks only \u2014 as well as revisions to the names or rules for six other categories. \u201cMusic is dynamic, and the landscape continues to change with the lines between genres becoming less defined as creators develop a fusion of sounds,\u201d Abud says. The Latin Grammys return this year to their longtime base in Las Vegas, following ceremonies in Spain in 2023 and Miami in 2024. Interest in hosting the next Latin Grammy Week has since been enormous. \u201cWe have defined and implemented a formal [request for proposal] process for potential host cities,\u201d Abud says, \u201cand the response has been overwhelming.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cStrong. The mainstream cultural powerhouse that is Latin music is undeniable, with Spanish-language artists topping global streaming charts and flexing unprecedented dominance on the world stage.\u201d<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"1825\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-juan-luis-guerra-billboard-2025-bb07-1240.jpg?w=696\" alt=\"Players, Global Power Players 2025, Juan Luis Guerra\" class=\"wp-image-1235971643\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-juan-luis-guerra-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-juan-luis-guerra-billboard-2025-bb07-1240.jpg?resize=204,300 204w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">With four victories, Juan Luis Guerra was the top winner at the 2024 Latin Grammy Awards, which was held in Miami. The event will return to Las Vegas this year.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Charlie Lexton<br \/><\/strong><em>COO, Merlin<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn the last year, Merlin has focused on data. \u201cThe data analytics capability we have built within Merlin allows us to take the vast array of data received under our partnerships around the world and transform it into actionable intelligence [that delivers] unique insights to our record label and distributor members,\u201d Lexton says. \u201cThese insights are derived from billions of streams generated by music from tens of thousands of record labels globally, helping our members to better understand audience behavior, optimize revenue opportunities and make data-driven strategic decisions, equipping them to thrive in a highly competitive and ever-evolving digital music landscape.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cAccepting and embracing that AI isn\u2019t Napster, it\u2019s fire. By \u2018fire,\u2019 I mean it would be a mistake to treat the advent of AI as merely a technological disruption. It is a fundamental transformation.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Victoria Oakley<br \/><\/strong><em>CEO, IFPI<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOakley, who joined IFPI in June, says the global recording business trade organization\u2019s March 2025 Global Music Report \u201cwas a great moment for IFPI,\u201d as well as for her. \u201cThis year\u2019s report tells a fascinating story of an industry that continues to evolve and innovate\u201d as IFPI\u2019s member labels continue to invest in artists while facing challenges from online distributors and AI music \u2014 which Oakley identifies as the industry\u2019s biggest issue. \u201cIt is very clear that the developers of generative AI systems are using copyright-protected music to train their models without authorization,\u201d she says. \u201cThis poses a massive threat to human artistry.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cInnovative.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>John Phelan<br \/><\/strong><em>Director general, International Confederation of Music Publishers<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn 2024, ICMP\u2019s efforts helped get the Artificial Intelligence Act passed by the European Union, which, among other things, requires technology companies to keep detailed records of data sets used to train generative AI so copyright holders can track (and potentially block) usage. \u201cThe team here eats up the biggest industry difficulties for dinner,\u201d Phelan says. \u201cThe ICMP team has engaged with more than 100 laws around the world that directly affect the world\u2019s music publishing companies and the tens of thousands of songwriters and composers they represent. Almost 40 of those are different AI laws.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThat if we\u2019re to succeed and build the basis for future growth, it\u2019s a case of moving hundreds of needles, not a handful, as in the past. So increasing digital streaming rates, growing emerging markets, preventing risks to business, enabling licensing efficiency, shortening long tails, preventing commercial-scale piracy, technologizing metadata, working with every government out there\u2026 there are no shortcuts to \u2018right.\u2019\u00a0\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Helen Smith<br \/><\/strong><em>Executive chair, IMPALA<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSmith, as IMPALA\u2019s executive chair, has led the nonprofit organization in \u201ctaking a stance on tricky issues that are pivotal for the whole sector, and we have a few right now \u2014 consolidation, reform of streaming, remuneration, AI, [electronic data interchange], sustainability and basic copyright, including in the USA,\u201d where recording rights holders are not compensated for radio play, she says. \u201cOur members are leaders and their work at labels is more important than ever, as illustrated in the first report published last year by ORCA [the Organization for Recorded Culture and Arts], the think tank for international independent labels.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cThe need to invest in diversity to grow the market. We believe our streaming plan has many of the answers, as it identifies diversity as holding the biggest potential for the whole market to grow. \u00adHowever, juggernaut economics as manifested in consolidation and two-tier streaming allocation models are getting in the way.\u201d<\/p>\n<h2 class=\"heading larva \/\/   a-font-primary-bold-xl   \">\n\t\t<strong>Rights Groups<\/strong>\t<\/h2>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<em>Honorees in this sector were chosen solely by <\/em>Billboard<em>\u2019s editorial team and not through industry nominations.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Casper Bj\u00f8rner<br \/><\/strong><em>CEO, STIM<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn 2023, the Swedish collective management society celebrated its 100th anniversary with record-high revenue of 3.1\u00a0billion krona ($291.9\u00a0million), up 14.2% from the previous year. STIM expects that its 2024 results (to be announced in May) will surpass that, fueled in part by the success of Swedish songwriters in K-pop, which STIM has supported with the public-private partnership Export Swedish Music. Like its sister societies when it comes to AI, Bj\u00f8rner says STIM is developing a licensing framework that embraces the technology while protecting creators\u2019 rights. \u201cWe\u2019re always in the room\u201d with policymakers, he adds, \u201cmaking sure there\u2019s a balance.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cEver-changing.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Andrea Czapary Martin<br \/><\/strong><em>CEO, PRS for Music<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tU.K. collecting society PRS for Music distributed in 2023 943.6\u00a0million pounds ($1.3\u00a0billion) in royalties, 13% more than the previous year, and its revenue broke the billion-pound barrier. For 2024, it expects to distribute over 1\u00a0billion pounds ($1.3\u00a0billion). Czapary Martin is driving innovation to lower costs, and last year PRS reduced multiterritory online administration fees by 20%. \u201cWe continue to drive industrywide improvements in metadata management through our Nexus project,\u201d Czapary Martin says. \u201cI can\u2019t wait to see the long-term improvements it will bring over the coming years to songwriter credit identification and royalty accuracy.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cGlobalized. Music is increasingly transcending geographic boundaries, with music creators from all over the world collaborating and blending diverse cultural influences.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Tobias Holzm\u00fcller<br \/><\/strong><em>CEO, GEMA<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe German collective licensing society took in 1.3\u00a0billion euros ($1.4\u00a0billion) in 2024, 4% more than in the previous year. \u201cWe\u2019re still growing faster than the German economy,\u201d Holzm\u00fcller says, \u201cand we have a transformative agenda in terms of speed and transparency.\u201c It has also taken a lead in protecting creators\u2019 rights from AI companies \u2014 suing OpenAI and Suno for copyright infringement in the course of training their algorithms \u2014 in cases that could shape the future of the technology in Europe. GEMA is also setting up a series of cooperative initiatives with other societies, including One Arena, a multiterritory platform for big tours.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cSolid.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Peter Leathem<br \/><\/strong><em>CEO, PPL<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tPPL continues to break revenue records, having surpassed 300\u00a0million pounds ($396\u00a0million) in collections in 2024, the organization\u2019s 90th year in business. \u201cCollections are up over 100\u00a0million pounds [$132\u00a0million] in the last decade\u201d since 2014, Leathem says. In 2014, PPL paid over 60,000 performers and recording rights holders, while last year, it paid over 172,000 performers and rights holders, he adds. Also, PPL collections include taking responsibility for neighboring rights internationally, which it has been doing for around 20 years. \u201cToday, PPL is the leader, with 113 agreements with CMOs [collection management organizations], covering 95% of the neighboring rights markets by value,\u201d Leathem says. Lastly, he adds that PPL has recruited and retained hundreds of performers as members, including Charlie\u00a0xcx, Lewis Capaldi and the estate of John Lennon.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1240\" height=\"1843\" src=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-john-lennon-billboard-2025-bb07-1240.jpg?w=689\" alt=\"Players, Global Power Players 2025, John Lennon\" class=\"wp-image-1235971644\" srcset=\"https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-john-lennon-billboard-2025-bb07-1240.jpg 1240w, https:\/\/www.billboard.com\/wp-content\/uploads\/2025\/05\/players-global-john-lennon-billboard-2025-bb07-1240.jpg?resize=202,300 202w\" sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw\"><figcaption class=\"wp-element-caption\">U.K. performance society PPL will collect broadcast and public performance royalties for the estate of John Lennon under an agreement announced in October.<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Gadi Oron<br \/><\/strong><em>Director general, CISAC<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAs head of the international trade organization of collecting societies, Oron helps steer a thriving sector of the music business \u2014 global revenue grew 7.6% to $12.7\u00a0billion in 2023 and is up 31.7% since 2019. Oron supports that growth by advocating for creators\u2019 rights in AI and CISAC supported the first global economic study on its possible effects. Oron also helps drive innovation in collections and distributions, and CISAC is working to modernize the data exchange system CIS-Net and to expand the International Standard Musical Work Code system that identifies works to get creators paid faster and more accurately.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cSupercharged.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Cristina Perpi\u00f1\u00e1-Robert<br \/><\/strong><em>CEO, SGAE<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOver the past year, SGAE has achieved record-breaking collections of 390\u00a0million euros (over $423\u00a0million), the highest in its 125-year history, while international revenue has reached an all-time high of 35\u00a0million euros ($40\u00a0million). \u201cWe have also focused on continuous modernization to enhance efficiency, transparency and accuracy in royalty collection and distribution,\u201d Perpi\u00f1\u00e1-Robert says, noting that a key achievement has been the implementation of digital tracking technology to better monitor music usage, particularly on streaming platforms. Among other significant accomplishments: \u201csecuring a 5% cap on publishing returns from TV broadcasters, a major step toward fairer and more transparent distributions.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> One trend that will erode the sustainability of the music industry is \u201cfestival promoters disputing fair tariffs, arguing that music is not the primary asset in their business models.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>C\u00e9cile Rap-Veber<br \/><\/strong><em>CEO, SACEM<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOver the past few years, the French collective rights management society has set successive records for both revenue and distributions: it collected a record 1.6 billion euros ($1.73 billion) in 2024, up 7.7% from 2023. Much of that success reflects Rap-Veber\u2019s modernization efforts, including the current SACEM 2030 strategy, which emphasizes collections efficiency (SACEM reduced its expense ratio to a historical low of 10.8%) and service for members. SACEM also worked with Deezer to apply the artist-centric royalty model to the streaming service\u2019s publishing payouts.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Biggest issue now:<\/strong> \u201cOne of the main challenges facing the music business today lies in the growing impact of artificial intelligence. AI raises crucial questions about the transparency and remuneration of works used to develop these tools.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Jose Luis Sevillano<br \/><\/strong><em>CEO, AIE<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tSevillano has positioned the artist performing rights society AIE as \u201cthe key bridge between Europe and America.\u201d Based in Spain, AIE represents the rights of over 40,000 artists and has expanded beyond Spain to the \u201cneighboring rights\u201d of Spanish-language performers around the world. \u201cWe have established ourselves as the leading organization in managing the Spanish-language Latin repertoire with a continuous and sustained increase in artists,\u201d Sevillano says. Last year, AIE achieved \u201crecord-breaking\u201d distribution of royalties to its artists and developed advanced platforms to establish a Spanish Music Data Space that will contain all information on Spanish music, including consumption, export numbers and individual artists\u2019 \u00adroyalty numbers in a single place.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>The music business today in a word:<\/strong> \u201cDisruption, first and foremost, in the sense of a radical change that completely reshapes the way this industry operates. Disruption also in how new musical content is being created across all areas: video games, audiovisual productions and mainstream music.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<em><strong>Contributors:<\/strong> Trevor Anderson, Nefertiti Austin, Katie Bain, Dave Brooks, Eric Renner Brown, Anna Chan, Ed Christman, Leila Cobo, Janine Coveney, Hannah Dailey, Thom Duffy, Chris Eggertsen, Griselda Flores, Eric Frankenberg, Raquelle \u201cRocki\u201d Harris, Lyndsey Havens, Gil Kaufman, Steve Knopper, Carl Lamarre, Elias Leight, Robert Levine, Jason Lipshutz, Joe Lynch, Heran Mamo, Elizabeth Dilts Marshall, Taylor Mims, Gail Mitchell, Melinda Newman, Jessica Nicholson, Glenn Peoples, Sigal Ratner-Arias, Isabela Raygoza, Kristin Robinson, Jessica Roiz, Dan Rys, Michael Saponara, Crystal Shepeard, Andrew Unterberger<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<em><strong>Methodology:<\/strong> <\/em>Billboard<em>\u2019s Global Power Players (published in previous years as International Power Players) recognizes high-achieving music executives whose primary responsibility is outside the United States, from the selected industry sectors shown. Nominations for all of <\/em>Billboard<em>\u2019s industry-sourced executive lists open no less than 150 days in advance of publication, and a submission link is sent by request before the nomination period. (Please email thom.duffy@billboard.com for inclusion on the email list for nomination links and for how to obtain an editorial calendar.) <\/em>Billboard<em>\u2019s Global Power Players were nominated by their firms and chosen by editors based on factors including their company\u2019s impact on consumer behavior, as measured by <\/em>Billboard<em> charts; sales and streaming performance; market share; revenue, or, where not available, <\/em>Billboard<em> revenue estimates, which may be aided by company guidance; social media impressions; and radio audiences reached, using data available as of March\u00a030. Career trajectory and momentum were also considered. Where required, U.S. record-label market share was consulted using Luminate\u2019s current market share for albums, plus track-equivalent and streaming-equivalent album consumption and <\/em>Billboard<em>\u2019s quarterly top\u00a010 publisher rankings. Unless otherwise noted, Billboard Boxscore and Luminate are the sources for tour grosses and sales\/streaming data, respectively.<\/em><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<em>This story appears in the May 17, 2025, issue of <\/em>Billboard.<\/p>\n<\/div>\n<\/div>\n<p><a href=\"https:\/\/www.billboard.com\/pro\/billboard-global-power-players-2025-list\/\">Aller \u00e0 la source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Recorded music is a small but mighty sector\u201d of the world\u2019s business, IFPI CEO Victoria Oakley said as she introduced the organizations\u2019s annual report in March. \u201cIt\u2019s a part of the global economy that really matters. Above all, it\u2019s a powerful example of human artistry and connectivity.\u201d Oakley quantified the impact of that artistry with [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-159422","post","type-post","status-publish","format-standard","hentry","category-musique","et-doesnt-have-format-content","et_post_format-et-post-format-standard"],"_links":{"self":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts\/159422","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/comments?post=159422"}],"version-history":[{"count":0,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts\/159422\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/media?parent=159422"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/categories?post=159422"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/tags?post=159422"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}