Billboard UK
Morgan Wallen has scored his first No. 1 on the U.K.’s Official Albums Chart with his new 37-track LP, I’m the Problem, on Friday (May 23). The Tennessee-born country star first charted in the U.K. in 2023 with One Thing at a Time debuting at No. 40. The Official Charts Company reports that he joins […]
Alex Warren is closing in on chart history as “Ordinary” hits a 10th consecutive week at No. 1 on the U.K.’s Singles Chart dated May 23. By heading into double-figures, he now matches Harry Styles’ “As It Was” (2022), Miley Cyrus’ “Flowers” (2023) and Dave and Central Cee’s “Sprinter”(2023) as one of the U.K.’s longest […]
Sam Ryder is, undoubtedly, one of the United Kingdom’s greatest Eurovision success stories in recent years. At 2022’s Song Contest, he finished in 2nd place (its highest finish since 1998) and used that to springboard to a No. 1 album (There’s Nothing But Space, Man!), and cement himself as one of the scene’s most electrifying performers. Soon he was collaborating with Queen’s Brian May, performing in front of the Royal Family at Queen Elizabeth’s Platinum Jubilee party, and bringing a puppyish enthusiasm to every booking.
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But even so, things in this industry can change in a heartbeat. In 2023, a leadership change at Parlophone Records meant that the executives that Ryder had signed with were leaving the label, and Ryder was caught in the middle: He saw the benefits of remaining on a major label, but felt indebted to the people who backed him when few others did.
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Ryder was not an overnight success. Prior to his selection for Eurovision, he gigged hard for a decade in various rock bands, and held down jobs in construction and hospitality. His rise on TikTok during the pandemic in 2020 eventually helped him land the spot for Eurovision in 2022, and it came when Ryder had just entered his 30s. His was a late-blooming success story and hard-fought for; he understood how fragile the industry can be, and how quickly it can all change.
When it came to the next phase of his career following his debut album success, he prioritized the things that were important to him: respecting the music-making process, and staying loyal. His new run of music — including “OH OK”, out Friday (May 23), and “White Lies” — is earthier, country-flecked as opposed to the glam-rock stylings of his debut. He thought about the artist he wanted to be, and how he can be authentic to his craft. He signed with Artist Theory, the new label from Nick Burgess and Jack Melhuish, who he met at Parlophone and left the major label system with them.
It’s a move that now looks savvy. The material he’s releasing showcases a new depth to his songwriting, and sits alongside Hozier and Noah Kahan’s rugged productions, all while retaining his powerhouse vocals and inimitable charm. In June, Ryder will perform at Glastonbury Festival for the first time; in November, Wembley Arena in London beckons, a sign that everything continues to move in the right direction for the singer-songwriter.
As he releases his new single “Oh OK,” Ryder tells Billboard U.K. about having faith in himself, his move to Nashville and the next phase of his career.
How would you describe this new era?
I’d call it the ‘frontier soul’ era. Soul music – that goes without saying. I sang that for years when I was at weddings and love it. But when I say frontier, think about the grandeur of old Hollywood and the richness in that aesthetic. The music is very much inspired by the Westerns that me and my grandad used to watch together. There’s a real attention to how the score and sound is recorded; films like Alexander the Great where the credits would roll up on screen first with a massive orchestra score. There’s such a richness in all of that aesthetic for me that I really enjoy.
You made the decision to head on a new journey with your label for this next album. Talk us through that…
A door was presented, to be real. At the time I remember feeling sad about it, even though it’s a choice we made, it felt exciting to a degree but daunting also. Parlophone had been there for the entire first album stint, which was amazing. Every challenge we met and exceeded. Parlophone, at that time, was the small dog in the fight. They’d reopened the label and had something to prove and the reason I chose it was because it felt like me; I hadn’t been given a chance until so much later on in my life to reach my potential.
When that label got dissolved essentially, [my] album had just gone to No. 1 and I was turning up to play a sold-out Hammersmith Apollo in London. It shows no one is ever safe from that happening to their label – it wasn’t a situation of the label wanting to go in a different direction, but all these amazing people were getting fired. I didn’t want to move to another major label where you’re an artist inherited rather than believed in and journeyed with.
The executives you worked with left an impression. You must have had faith in them in their next venture?
It’s not just faith, you’ve actually seen them in action and what they can do. Faith can be misconstrued in any industry. Any time you go and see a different label or management – which I’ve been through in my career – everyone gives you their best on that first meeting. It’s almost impossible to make a decision on anything but a gut instinct and a proof of concept; you’ve seen the lengths they’ll go to to make something happen and seen how collaborative they are and how they manage situations. Those are really important attributes.
It must have given you a lot more freedom in the way you approached the writing and recording process. Is that fair?
Yeah, I mean the way that people write music in the current industrial age of recording, you’re in sessions most days of the week with different people. You just end up collecting songs. That’s what I did for the first album and what a lot of my peers are doing as well. You can collect in the region of 100 songs, which, on paper, sounds great right? You’ve got all these songs, and everyone you work with is a great writer and then you put an album together of the best 12 songs.
The problem with that is that you don’t get a concept for the journey of a record, because everything in isolation sounds great and a single song sounds amazing. But put that together and it feels like you’re eating Big Macs and profiteroles for an hour; it just doesn’t feel nutritious.
Your journey has not been a typical one. Success came for you at a different period of your life than a lot of acts. What would you say to the next wave of people coming through when they’re faced with important business decisions like you had to make?
For any new artist, I know how exciting it would feel to come from making music in your bedroom to getting an email from one of the big three labels. I mean, take the meeting, of course. I have so much to thank major labels for; the experience was really magical. It wasn’t without its challenges, but nothing worth fighting for is going to be easy.
But I would say that there’s a really exciting conversation happening in the indie space. The idea of the major label system is slightly outdated. That’s not to say that the people working in those industries are outdated. They love music as much as you and I do. But they’re working in the confines of a massive beast. It’s like working with any big corporation, things happen slowly as there’s so many moving parts; an indie label can be a bit more nimble. I believe [the major’s] intentions are right, but it’s going to take time for change… and I haven’t got the time, man. I need to move quickly!
Have you always dreamt of heading to Nashville?
For the last 13 years the goal has been to get to Nashville and I’m so stoked we’ve been able to do it. I’ve bought a log cabin in the trees which is so peaceful. The city has absolutely exploded in the best way, but it’s still kept its heart and soul.
What is that music community like, particularly for someone moving into the area?
With Nashville, if the evidence of other people’s success doesn’t psych you out everywhere you look, it can be a really good motivational place to be. It’s the same with actors in Hollywood, I imagine. Maybe they go to the Walk of Fame and see these examples of past and present success which aren’t yours yet. It’s kind of the same with Nashville… but I don’t get psyched out by seeing that. I love it. I think that if it’s possible for them, it’s possible for me. It makes me feel like things are happening there and you’re at the epicentre of something special. And I think serendipity and spontaneity are so crucial in music and all the arts. That’s where the good stuff happens.
Heading to Nashville, writing and recording there and on your own terms with the new label must have brought the best out of your creativity, right?
It was nice to have that more manageable pace with it. In the past you just didn’t have time to sit and consider what you’re doing. Your schedule fills up so fast and there’s just not much time. When I look back, making music felt like the side project to everything else that needed to be done. The schedule was so crazy with everything else like promo and TV, that sitting and making music almost felt like a luxury. You’d make music in a room, and then send it off for someone else to mix it and master it or whatever. You never spend time really feeling what you want from a song. And that’s how albums sound as opposed to singles.
You’ll be playing Wembley Arena later this year. Was that always a goal for you?
It was definitely a goal, but as life went on it felt more like a pipe dream. My career started a lot later than some others in my peer group. In some ways it’s a blessing because I have the thickest skin in the game. The amount of times I was certain it wasn’t going to happen but I had to carry on doing it because I had literally no idea what else I was going to do.
Are you glad it happened at this stage of your life where you can appreciate the journey a bit more?
Oh definitely. If I had hit Wembley at a younger stage in my career, I think it might have come from a place of ego and to show everyone at school, or whoever doubted me, “Look what I can do.” Whereas now it’s more of a peaceful feeling where I’m so grateful and I don’t want to let anyone down. I know I won’t because I’ll put my all into the show.
U2, Robbie Williams, Charli xcx and Lola Young were among the artists celebrated at the 2025 Ivor Novello Awards on Thursday (May 22) at the Grosvenor Hotel in London.
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Awards were handed out to 22 songwriters and composers across 14 categories, with more than 70% of the honorees winning an Ivor Novello for the first time.
Songwriter of the year with Amazon Music was presented to Charli xcx in recognition of her zeitgeist-busting Brat record. The LP topped the Official Albums Chart in the U.K. and hit No. 3 on the Billboard 200.
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She was bested in the best album category by Trinidad-born musician BERWYN, who collected the prize for his emotive debut album, Who Am I, released on Sony Music Entertainment. The record, which reflects on the Romford-based rapper’s heritage and upbringing as an immigrant in the U.K., was also nominated for the Mercury Prize in September 2024.
U2 was inducted into the Ivors’ Fellowship Academy, becoming the first Irish act to do so. Previous inductees include Paul McCartney (2000), Elton John (2005), Barry, Maurice and Robin Gibb of The Bee Gees (2006), Andrew Lloyd Webber (2012) and Kate Bush (2020). Bruce Springsteen became the first U.S. musician to enter the fellowship in 2024.
Following the announcement of his forthcoming album Britpop, Robbie Williams was awarded the PRS for Music Icon Award in honor of his extensive songwriting catalog. The former Take That star is currently tied with The Beatles with 15 No. 1 albums on the Official U.K. Charts, and with his 18 BRIT Awards, he is the most successful artist in that show’s history.
New names, including Lola Young and Myles Smith, also enjoyed success. The former collected the rising star award with Amazon Music following the breakout success of her song “Messy,” which held the No. 1 spot on the Official Singles Chart for four weeks. Smith, alongside co-writers Peter Fenn and Jesse Fink, earned the PRS for Music Most Performed Work prize for their megahit “Stargazing.”
Best song musically and lyrically was presented to Irish singer-songwriter Orla Gartland for her track “Mine,” while the San Soucis collected best contemporary song for its release “Circumnavigating Georgia.”
There were winners across the arts in film, television and video games. The soundtrack for The Substance by Raffertie won best original film score; John Konsolakis triumphed in best original video game score for Farewell North; and Vince Pope won in the best television soundtrack category for his work on True Detective: Night Country.
Bloc Party were on hand to be awarded the prize for outstanding song collection, though original members Matt Tong and Gordon Moakes (who left in 2013 and 2015, respectively) were not in attendance alongside frontman Kele Okereke and guitarist Russell Lissack.
The Killers frontman Brandon Flowers earned the special international prize, and Self Esteem, who recently issued her third LP, A Complicated Woman, won the Visionary Award with Amazon Music.
The Ivor Novello Awards were streamed live on Prime Video, continuing a partnership that began in 2023. See the full list of winners below.
Best Album
WINNER: Brat written by Charli xcx, A. G. Cook and Finn Keane; Published in the UK by Sony Music Publishing, Concord Music Publishing obo Alias Guild and Universal Music Publishing; Performed by Charli xcx
On Purpose, With Purpose written by Ghetts and TenBillion Dreams; Published in the UK by BMG Rights Worldwide UK; Performed by Ghetts
The Loop written and performed by Jordan Rakei; Published in the UK by Sony Music Publishing
This Wasn’t Meant for You Anyway written by William Brown, Conor Dickinson, Jared Solomon and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs, Sony Music Publishing – Solomon Gouda and Sony Music Publishing; Performed by Lola Young
Who Am I written and performed by BERWYN; Published in the UK by Sony Music Publishing
Best Contemporary Song
“Allergy” written by Felix Joseph, Alastair O’Donnell and Pa Salieu; Published in the UK by Universal Music Publishing and Sony Music Publishing; Performed by Pa Salieu
“Angel of My Dreams” written by Pablo Bowman, JADE, Steph Jones and Mike Sabath; Published in the UK by Kobalt Music Publishing, Sony Music Publishing and Universal Music Publishing obo Hipgnosis Hits-Steph Jones Who Music-Vistaville Music; Performed by JADE
WINNER: “Circumnavigating Georgia” written and performed by Sans Soucis; Published in the UK by Sentric Music
“Double Standards” written by Ghetts, EMIL, Sampha Sisay and R-Kay; Published in the UK by BMG Rights Worldwide UK, Ditto Plus Music Publishing and Sony Music Publishing – Young Songs; Performed by Ghetts feat. Sampha
“How Black Men Lose Their Smile” written by Bashy, Toddla T and Linton Kwesi Johnson; Published in the UK by Downtown Music obo DLJ Songs, BMG Rights Worldwide UK and Universal Music Publishing obo L-K-J Music Publishers; Performed by Bashy
Best Song Musically and Lyrically
“Child of Mine” written and performed by Laura Marling; Published in the UK by Kobalt Music Publishing
“Genesis.” written by Rodney Jerkins, RAYE and Toneworld; Published in the UK by Universal Music Publishing, Warner Chappell Music and Kobalt Music Publishing obo Mohemmusic-Songs by Seventy 7 Music; Performed by RAYE
“In the Modern World” written by Grian Chatten, Conor Curley, Conor Deegan, Thomas Coll and Carlos O’connell; Published in the UK by Domino Publishing Company; Performed by Fontaines D.C.
“Messy” written by Conor Dickinson and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs and Sony Music Publishing; Performed by Lola Young
WINNER: “Mine” written and performed by Orla Gartland; Published in the UK by Kobalt Music Publishing obo San Remo Music
PRS for Music Most Performed Work
“As It Was” written by Kid Harpoon, Tyler Johnson and Harry Styles; Published in the UK by Universal Music Publishing and Concord Music Publishing obo These Are Pulse Songs; Performed by Harry Styles
“Houdini” written by Caroline Ailin, Danny L Harle, Tobias Jesso Jnr, Dua Lipa and Kevin Parker; Published in the UK by Sony Music Publishing obo Viking Jamz Publishing, Sony Music Publishing, Universal Music Publishing and Warner Chappell Music obo Radical 22 Publishing; Performed by Dua Lipa
“Last Christmas” written by George Michael; Published in the UK by Warner Chappell Music obo WHAM! Music Limited; Performed by WHAM!
“Prada” written by D-Block Europe, Obi Ebele (Da Beatfreakz), Uche Ebele (Da Beatfreakz), Jahmori “Jaymo” Simmons and RAYE; Published in the UK by Sony Music Publishing, Bucks Music Group Ltd obo Armada Music Publishing, Kobalt Music Publishing obo Fat Pigeon (Publishing) Limited and Warner Chappell Music; Performed by Cassö, RAYE and D-Block Europe
WINNER: “Stargazing” written by Peter Fenn, Jesse Fink and Myles Smith; Published in the UK by Kobalt Music Publishing obo Songs by 308 Publishing-Where Da Kasz At, Lyric Global Copyright Services Crescendo obo Arcade Artists Publishing-Jesse Fink Publishing-Spirit One Music Crescendo and Sony Music Publishing; Performed by Myles Smith
Rising Star Award With Amazon Music
Bea and her Business
Liang Lawrence
WINNER: Lola Young
LULU.
Nia Smith
Best Original Film Score
Fly Me to the Moon composed by Daniel Pemberton; Published in the UK by Sony Music Publishing obo Apple
Hard Truths composed by Gary Yershon; Published in the UK by Universal Music Publishing obo Thin Man Films
Kneecap composed by Michael ‘Mickey J’ Asante
WINNER: The Substance composed by Raffertie; Published in the UK by Universal Music Publishing obo Universal Pictures Music
The Zone of Interest composed by Mica Levi; Published in the UK by Domino Publishing Company
Best Original Video Game Score
Empire of the Ants composed by Mathieu Alvado and Mark Choi
WINNER: Farewell North composed by John Konsolakis
Flock composed by Eli Rainsberry
Senua’s Saga: Hellblade II composed by David Garcia Diaz
The Casting of Frank Stone composed by Boxed Ape
Best Television Soundtrack
Black Doves composed by Martin Phipps; Publishing in the UK by BMG Rights Management UK obo Maisie Anthems
Mary & George composed by Oliver Coates; Published in the UK by SATV Publishing
Rivals composed by Jack Halama and Natalie Holt; Published in the UK by Universal Music Publishing obo Walt Disney Music Company
WINNER: True Detective: Night Country composed by Vince Pope; Published in the UK by Universal Music Publishing obo T-L Music Publishing
Until I Kill You composed by Carly Paradis; Published in the UK by BMG Rights Management UK obo Veti Music Publishing
PRS for Music Icon Award
Robbie Williams
Songwriter of the Year with Amazon Music
Charli xcx
Outstanding Song Collection
Bloc Party
Special International
Brandon Flowers
Visionary Award with Amazon Music
Self Esteem
Kneecap has responded to a member of the group being charged with a terrorism offense by London’s Metropolitan Police.
Mo Chara of the Irish-language hip-hop group was investigated and subsequently charged for allegedly showing support for militant groups Hamas and Hezbollah in historic videos. Both are proscribed as terror groups according to U.K. law, and considered an offense under the Terrorism Act 2000. Mo Chara, born Liam Óg Ó hAnnaidh, is due to appear at Westminster Magistrates’ Court on June 18.
“We deny this ‘offence’ and will vehemently defend ourselves,” Kneecap wrote in a statement posted on their Instagram. “This is political policing,” it continued. “This is a carnival of distraction.” They added: “14,000 babies are about to die of starvation in Gaza, with food sent by the world sitting on the other side of a wall, and once again the British establishment is focused on us.”
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“British establishment is focused on us”, Kneecap added. “They profit from genocide, they use an ‘anti-terror law’ against us for displaying a flag thrown on stage. A charge not serious enough to even warrant their ‘crown court’, instead a court that doesn’t have a jury.” Read the full statement below.
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The incident allegedly took place at a show at London’s O2 Forum in November 2024, though the video resurfaced in April following their Coachella sets, in which they displayed a message stating “F–k Israel, Free Palestine.” A number of politicians also criticised the group for allegedly calling for the death of Tory MPs in a performance.
In a follow-up statement, Kneecap denied support for either Hamas or Hezbollah. “Let us be unequivocal: we do not, and have never, supported Hamas or Hezbollah,” the band wrote. “We condemn all attacks on civilians, always. It is never okay. We know this more than anyone, given our nation’s history.” They also apologised to the families of MPs Jo Cox and Sir David Amess, both of whom were murdered by members of the public in 2016 and 2021, respectively.
Following the band’s sets at Coachella in mid-April the band’s activities has drawn condemnation and support from throughout the music industry. Sharon Osbourne called for the group’s work visas to be rescinded, the band split with their U.S. booking agent, and a number of shows were cancelled in Germany and in the U.K.
A number of high-profile artists including Massive Attack, Fontaines D.C. and more signed an open letter denouncing the restriction of free speech for artists. On Friday (May 23), Kneecap are due to play their first show since the furore at London’s Wide Awake Festival in Brockwell Park.
LONDON — Field Day festival has issued a new statement in response to controversy around their parent company and a lineup boycott. The festival is due to take place in Brockwell Park, south London this coming Saturday (May 24).
Field Day festival is one of a number of music brands operated by Superstruct Entertainment, alongside Sónar Festival, Boiler Room and more. Superstruct Entertainment is owned by global investment firm KKR which, per Mixmag, holds stakes in weapons manufacturing companies, the Coastal GasLink pipeline, and multiple Israeli corporations that operate in occupied Palestinian territories.
In an open letter, a number of artists including Massive Attack and Brian Eno called on the festival to distance itself from KKR’s dealings, and 11 acts removed themselves from the lineup in protest. Last week (May 15), the festival issued a statement regarding the ownership situation which acknowledged the people “hurt and angry,” but explained that partnering with Superstruct Entertainment helped secure the future of the festival.
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Field Day was first held in 2007 in Victoria Park, and in 2021 partnered with AEG’s Goldenvoice as part of All Points East Festival. In 2023, the festival was acquired by Superstruct Entertainment and moved to Brockwell Park in Brixton. This year’s event is headlined by Peggy Gou and also features James Blake and Jungle on the lineup.
Since the statement, however, fallout has continued with a number of acts continuing to withdraw from the bill, including Midland and Mall Grab. As of publication, over half of the artists booked have withdrawn from the lineup, with just 23 acts remaining of an original 42.
On Tuesday (May 20), the festival shared a new statement to their Instagram page, acknowledging that their initial message did not do enough to distance themselves from Superstruct’s parent company. “We are passionately opposed to KKR’s unethical investments in Israel,” it read, while calling for a “Free Palestine.”
The message continued: “We cannot control who owns our parent company but we promise to make our – and your – voices, and the ethical values we regard as non-negotiable, heard and understood at all levels.”
The run-up to the events in Brockwell Park have been disrupted by a protest by a group of local residents and uncertainty if the festival slate would move forward. Wide Awake, Field Day, City Splash, Mighty Hoopla, Across The Tracks, all operated by Brockwell Live, are set to take place over a three-week period beginning on Friday (May 23).
Last week a High Court ruled that Brockwell Live did not have the correct planning permission from Lambeth Council to host the events, and that the promoters had exceeded the amount of usage days of the public park. On Monday, however, the festivals confirmed they would be going ahead after applying to Lambeth Council “for a new certificate of lawfulness” which enables the events to move forward.
Field Day statement in full:
The statement released on Thursday did not explain in full the position of the Field Day team or directly address legitimate concerns about investments in Israel by KKR, the owner of Field Day’s parent company, Superstruct. We apologise and wish to put that right here by making our position very clear.
Last year, the International Court of Justice, the world’s highest court, ruled that Israel illegally occupies Palestinian territory, is in violation of the international prohibition on apartheid, and is plausibly committing genocide in Gaza.
We would like to say, clearly and directly, that we stand with the people of Gaza and support the peaceful aims of the Palestinian civil organisations and everyone working tirelessly to give them a voice.
This includes the artists and audience members who expect us to amplify their voices when it really matters, and who we failed by not addressing this earlier. We join them in calling for an immediate end to military action and occupation and the provision of vital aid in Gaza without delay.
We said previously that partnering with Superstruct secured the future of the festival and our creative and operational independence; that the Field Day team had no knowledge or influence in KKR’s investment in Superstruct last year; and that we retain the same deeply held values Field Day was founded on. All of this is true.
However, we are sorry we did not say earlier what we unequivocally say now:
We are passionately opposed to KKR’s unethical investments in Israel. We cannot control who owns our parent company but we promise to make our – and your – voices, and the ethical values we regard as non-negotiable, heard and understood at all levels.
Many of you rightly challenged our previous post. We’re grateful for your comments and we respect the artists who have taken a stance. To the other artists on our lineup, we welcome and support you using your platform to stand against all forms of oppression, discrimination and genocide.
We say with pride and determination that everyone is welcome at Field Day, regardless of nationality, race, religion, gender or sexuality.
We believe music is uniquely capable of bringing people together and providing a space to express ourselves freely without discrimination, and we hope you will join us in that spirit this weekend.
This is what we stand for, and we regret not making that clearer before. Free Palestine.
Robbie Williams is looking to hark back to “a golden age for British music” with his newly-announced LP Britpop, slated to land this autumn.
The album, which the singer says was inspired by the iconic musical era of the same name and the bands who defined it (Oasis, Blur, Pulp et al), will arrive via Columbia Records. It will mark Williams’ 13th solo full-length effort to date, and his first of non-festive original songs since 2016’s The Heavy Entertainment Show. A release date is due to be confirmed soon.“I set out to create the album that I wanted to write and release after I left Take That in 1995,” he said in a statement. “It was the peak of Britpop and a golden age for British Music. I’ve worked with some of my heroes on this album; it’s raw, there are more guitars and it’s an album that’s even more upbeat and anthemic than usual.“There’s some ‘Brit’ in there and there’s certainly some ‘pop’ too – I’m immensely proud of this as a body of work and I’m excited for fans to hear this album.”
The news coincides with the release of the album’s blistering lead single, “Rocket,” which features Black Sabbath legend Tony Iommi on guitar. Its accompanying music video is set to drop this Friday (May 23), though a press release states that it will feature scenes of Williams and Iommi together in the latter’s hometown of Birmingham.
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Williams will support Britpop with an extensive U.K. and European headline tour this summer, which features two nights at London’s 60,000-capacity Emirates Stadium (June 6-7). Support will come from Warrington rock band The Lottery Winners, as well as Rag ‘N’ Bone Man on select dates.
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The artwork for Britpop, meanwhile, nods to one of Williams’ most iconic looks: the red tracksuit worn to Glastonbury Festival in 1995 when he partied with Oasis at the height of the Britpop era. He had departed boyband Take That shortly before this time, in order to pursue a solo career. It also features an illustration of two demonstrators in ‘Just Stop Pop’ t-shirts defacing the image, in the style of protest group Just Stop Oil.
In January, Williams secured a huge milestone on the U.K. Album Charts. Better Man, the soundtrack to his recent biopic of the same name, gave the pop icon his 15th No. 1 album, seeing him move ahead of The Rolling Stones (14) in the all-time rankings. He is now tied with The Beatles at 15 for the most ever.
LONDON — Dua Lipa has been named as the U.K.’s most-played artist across radio, TV and public places in 2024, surpassing Ed Sheeran, Taylor Swift and more. This is the second time she has achieved the feat, having first done so in 2020.
On Tuesday (May 20) collection society PPL (Phonographic Performance Limited) shared its annual report into the U.K.’s most played music over the past year, with its data reporting the music played on radio, TV and in public places across the UK, including shops, bars, restaurants, gyms, offices and more.
Lipa, who released her third album Radical Optimism in 2024, also features in the most-played songs list, with “Houdini” named as the sixth-most played song in the U.K. last year. Speaking to Billboard U.K. as part of the Global No. 1s issue, Lipa said that 2024 was “the best year of my life,” and that she’s “so proud” of the LP and “where it’s brought me.” The album hit No. 1 in the U.K., and No. 3 on the Billboard 200.
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In June 2024, Lipa kicked off her Radical Optimism era with a huge headline slot at Glastonbury Festival in England, which was also broadcast live on the BBC and streamed online globally. Her ongoing tour will head to London’s Wembley Stadium in June, before continuing into North America this fall.
Data released by PPL says that Lipa’s music is played on average 400 times a day, with her 2018 hit “One Kiss” averaging 55 plays per day across UK radio and TV. Ed Sheeran was 2023’s most-played artist, and has claimed the prize seven of the past 10 years.
Seven of the top 10 artists in the PPL’s list were British, with Taylor Swift, Ed Sheeran, David Guetta, Coldplay, Calvin Harris, Ariana Grande, Elton John, Becky Hill, and Harry Styles all placing behind Lipa in the top spot, respectively.
Elsewhere, Noah Kahan’s “Stick Season” was named as the U.K.’s most-played song in 2024, with a number of international superstars dominating the top 10. Teddy Swims’ “Lose Control,” Benson Boone’s “Beautiful Things,” Dasha’s “Austin (Boots Stop Workin’)” and Myles Smith’s “Stargazing” round out the top five.
Alongside Dasha’s triumph, country songs perform well overall perform, with Shaboozey’s “A Bar Song (Tipsy)” (No. 7), Beyoncé’s “Texas Hold ‘Em” (No. 11) and Post Malone’s team-up with Morgan Wallen “I Had Some Help” (No. 12) all appearing in the data.
Peter Leathem OBE, PPL CEO, said: “Congratulations once again to Dua Lipa for leading PPL’s Most Played Artist Chart, and to Noah Kahan for securing the most played track of the year. British artists continue to perform well, making up 70% of the Top 10 – proving they have staying power across the nation’s broadcasters, businesses and public spaces. It is also fantastic to see fresh UK talent such as Myles Smith make a big splash in the top five most played tracks, showing there is plenty of promise in UK music going forward.”
PPL Most Played Tracks 2024
Noah Kahan, “Stick Season”
Teddy Swims, “Lose Control”
Benson Boone, “Beautiful Things”
Dasha, “Austin (Boots Stop Workin’)”
Myles Smith, “Stargazing”
Dua Lipa, “Houdini”
Shaboozey, “A Bar Song (Tipsy)”
Sabrina Carpenter, “Espresso”
Hozier, “Too Sweet”
Coldplay, “Feelslikeimfallinginlove”
Billboard U.K. Live headed to The Great Escape on Friday (May 16) with a stellar lineup of emerging new artists.
Taking over the Deep End stage at the TGE Beach site, the Billboard U.K. Live stage played a key role in The Great Escape’s programming. The event, held in Brighton annually, kicks off the U.K.’s festival season with a number of global acts heading to the seaside for days of music, networking, conferences and more.
A number of big name artists performed at the festival across the four-day event, with The Libertines frontman Pete Doherty, Rizzle Kicks, Skunk Anansie and The Horrors all heading down to the city on the south coast.
Over on the Billboard U.K. Live stage, RIP Magic – dubbed London’s “buzziest buzz band” by The Guardian – opened proceedings with a set of intense, genre-bending electronica, and offered a chance for punters to hear the band’s music in a live setting. As it stands, the band has yet to release any music officially online, with hype building via their performances and live clips on YouTube.
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Westside Cowboy drew a packed tent as fans jostled to catch a glimpse of the band that recently won Glastonbury’s Emerging Talent Competition. With just two songs released so far, the Manchester-based band pulled a full-house in their third and final set of the festival, airing unreleased material and new single “Shells.”
In their second consecutive year at The Great Escape, My First Time brought sharp songwriting and an energetic stage presence in their set. Soon after, Liverpool-formed band Courting aired cuts from their new album Lust for Life, Or: ‘How to Thread the Needle and Come Out the Other Side to Tell the Story’ in a fun, frenetic set. The electronic rock outfit are set to play a number of festivals this summer, including the upcoming BBC Radio 1 Big Weekend.
Rising group RabbitFoot, whose set showcased baroque-pop to pummeling electronic synth lines, showcased a theatrical, personable approach to their songs. Daffo, who is set to support Blondshell on their upcoming U.S. tour, featured indie-rock material with bite in what was their first live show in the U.K.
Leeds’ English Teacher closed the stage in their return to The Great Escape festival, this time as headliners of a major stage. The group won the 2024 Mercury Prize with debut album This Could Be Texas, and proved how the U.K.’s grassroots scene is continually producing stellar acts, and why it must be protected and treasured.
The set featured much of the material from that LP, with “The World’s Biggest Paving Slab,” “Nearly Daffodils” and “Broken Biscuits” all being played, and a poignant “Albert Road” closing the show’s set. The band are poised to play a number of headline shows in the U.K. this coming autumn.
Alex Warren has achieved a rare chart feat on the U.K.’s Official Singles Chart with his song “Ordinary” (May 16).
With its ninth week at No. 1, he is now the longest-running U.S. male solo chart-topper in over 70 years, surpassing Elvis Presley in the process. The King had an eight-week stay at the summit in 1960 with “It’s Now or Never,” one of 21 No. 1 singles in the U.K.
Florida-born artist Slim Whitman earned an 11-week stint at the top spot in 1955 with “Rose Marie,” the title track from the 1954 western epic starring Ann Blyth and Howard Keel.
In its 13th week on the Billboard Hot 100, “Ordinary” is now up to No. 2, closely trailing Kendrick Lamar and SZA’s “Luther,” which has had a 12-week stay at the summit. “Ordinary” has also hit the top spot on the Global 200 for a second consecutive week.
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Speaking to Billboard in January, Warren discussed using challenging moments in his personal life, including the passing of both of his parents and his stint of homelessness, in his material.
“I recently started doing this thing where I write about those [experiences], and I try to take control in a way,” he said. “For me, something really beautiful is taking something so sad and dark, and what most would view as something that ruined their life, and turn it into something that can help people.”
The remainder of the top five remains relatively unchanged with Ravyn Lenae’s “Love Me Not” (No. 2), Chappell Roan’s “Pink Pony Club” (No. 3), and WizTheMC and Bees & Honey’s “Show Me Love” (No. 4) all maintaining their positions from last week.
Sombr’s breakout hit “Undressed” is in the top five for the first time (No. 5), up one place from the previous week, while his song “Back to Friends” also rises three spots to No. 12.
The week’s highest new entry comes from Calvin Harris and Clementine Douglas, as their collaboration “Blessings” lands at No. 8. The feat gives Harris his 45th top 10 hit.