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LONDON — Global hit records by Harry Styles, Glass Animals and Ed Sheeran, coupled with the popularity of U.K. acts in emerging markets like the Middle East and Africa, helped British music exports climb to a record high of £709 million ($910 million) in 2022, according to new figures released by labels trade body BPI.
The London-based organization says 2022’s export tally is the highest annual total since BPI began analyzing labels’ overseas income in 2000. Last year also marked the ninth consecutive year of growth in U.K. music export trade revenues, which slumped to just over £200 million ($254 million at today’s exchange rates) in 2007.
BPI, which represents over 500 independent labels, as well as the U.K. arms of Universal Music Group, Sony Music Entertainment and Warner Music Group, says the consistent year-on-year rise puts the country’s record industry on track to exceed £1 billion ($1.27 billion) in annual music exports by the end of the decade.
Driving last year’s 20% growth was a combination of globally successful British artists and the strong value of the U.S. dollar and other foreign currencies against the pound sterling.
British singer-songwriter Harry Styles’ hit single “As It Was” was the world’s most-streamed song in 2022, according to Luminate data cited by BPI, while Glass Animals’ “Heat Waves” was number two. Other songs by U.K. artists in the year-end global top 10 included Elton John and Dua Lipa’s “Cold Heart (PNAU Remix)” and Ed Sheeran’s “Shivers.”
In total, around 450 U.K. artists accumulated more than 100 million global streams last year, up from almost 400 in 2021, BPI reports. That list includes Adele, Arctic Monkeys, Calvin Harris, Coldplay, Dave and Sam Smith, as well as veteran acts The Beatles, Pink Floyd and Queen. Overall, British artists claimed more than a quarter of the 50 most-streamed songs on Spotify in 2022.
Worldwide, consumption of British music increased in every region last year, says BPI, with export revenues rising 11% in Europe and up 28% in North America (equivalent trade values were not provided). The fastest-growing regions for U.K. music exports were Africa (up 48%) and the Middle East (up 59%).
On a country-by-country basis, all but one of the U.K.’s leading music export markets recorded a rise in export sales, including the U.S. – the leading international market for British acts – where revenues grew 28% to £292 million ($371 million). The second biggest country for U.K. music sales is Germany, where revenues climbed 4% to £58 million ($74 million), followed by France (up 15% to $54 million).
In line with the past several years, the U.K.’s share of the global recorded music market remains around 10%, reports BPI, despite the growing international popularity of music acts from Latin America and Asia, particularly South Korea.
In a statement, BPI interim chief executive Sophie Jones said the continued success of U.K. labels and artists overseas was “an exceptional achievement in the face of unprecedented competition on the global music stage, both from long-established and rapidly-expanding new music markets.”
The U.K. is the world’s third biggest recorded music market behind the U.S. and Japan with sales of just over $1.8 billion in trade value, according to IFPI’s 2022 Global Music Report.
TikTok is launching a new “social music streaming service” in Indonesia and Brazil, the company announced Thursday (July 6).
TikTok Music is a premium-only service that users will be able to synch with their existing TikTok accounts in order to listen to, share and download the tracks they discover on TikTok. The service is available starting now in both countries; all new TikTok Music users will be offered a one-month free trial.
TikTok Music will launch with a “full catalogue of music from thousands of labels and artists,” according to a press release. That includes Sony Music, whose catalog hasn’t been available on TikTok’s existing streaming service, Resso, since September. The release adds that Sony’s catalog will become available on Resso again beginning Thursday.
Following Thursday’s launch, Resso — which launched in March 2020 in India and Indonesia before later being made available in Brazil — will cease operating in both Indonesia and Brazil on Sept. 5. Existing Resso users will be invited to transfer their accounts to TikTok Music “with the click of a button,” the release states.
TikTok’s pivot to a subscription-based streamer began in May, when its Chinese parent company, ByteDance, announced that Resso would become a premium-only service.
Among other features, TikTok Music subscribers will have the ability to swipe up and down on the app to explore personalized music recommendations; connect with “like-minded” music fans; sing along to real-time lyrics; co-create collaborative playlists with friends; import their music libraries from external playlists; and search for lyrics to discover songs, according to the press release. The service will include uninterrupted ad-free listening and a download function allowing users to listen to music offline.
“We are pleased to introduce TikTok Music, a new kind of service that combines the power of music discovery on TikTok with a best-in-class streaming service. TikTok Music will make it easy for people in Indonesia and Brazil to save, download and share their favourite viral tracks from TikTok,” said Ole Obermann, global head of music business development at TikTok, in a statement. “We are excited about the opportunities TikTok Music presents for both music fans and artists, and the great potential it has for driving significant value to the music industry.”
For more than a year, ByteDance has been signaling its intention to launch a music streaming service that would compete with Spotify, Apple Music, Amazon Music and YouTube. In spring 2022, the company registered the handles @TikTokMusic on both Twitter and Instagram; that May, it also filed a trademark application with the U.S. Patent and Trademark Office for a service under the same name. In October, Billboard confirmed that ByteDance was in conversations with all major music rights holders to launch its music streaming service in additional countries in Latin America, Southeast Asia, Australia and New Zealand.
The launch of TikTok Music is a potential game-changer for the music industry, as rights holders have pressured the company to embrace a subscription model over an ad-supported one. Streaming subscriptions are a primary driver of music industry revenue, with paid subscription streaming revenue surpassing $10 billion in the United States for the first time last year, according to the RIAA. It accounts for 77% of all streaming revenue and nearly two-thirds of total revenue.
Neko Health, a medical technology company co-founded by Daniel Ek, said on Wednesday (July 5) it has raised 60 million euros ($65 million) from a group of outside investors led by European tech venture capitalist Klaus Hommels‘ Lakestar. Founded in 2018 by Ek and Hjalmar Nilsonne, this is the first time the Swedish health-tech company […]
TikTok is helping bring Tomorrowland 2023 to the world.
On Wednesday (July 5), the dance mega-festival announced the video-sharing platform as its official content partner for the event, which is taking place over two weekends in Boom, Belgium: July 21-23 and July 28-30.
The partnership will include TikTok LIVE broadcasts of headline performances from the festival’s main stage, along with behind-the-scenes footage and video-on-demand content from artists and other creators. TikTok will stream Tomorrowland content 24 hours a day across both weekends.
Additionally, the partnership encompasses in-app playlists, a search hub and activations designed to make it easier for TikTok users to find content from the festival.
“We’re delighted to be partnering with Tomorrowland, one of the world’s biggest and most iconic festivals,” TikTok business development lead of global music content and partnerships Michael Kümmerle said in a statement. “With its legendary line-up and global audience, Tomorrowland is the perfect festival partner for our flourishing community of #ElectronicMusic lovers who congregate on TikTok. As our relationship with the genre deepens, we’re incredibly excited to help grow the festival further by giving our community 24 live streams and a 360-degree experience of Tomorrowland on TikTok.”
Tomorrowland 2023 is set to host more than 600 artists across 14 stages. Performers include Afrojack, Alesso, Armin van Buuren, Black Coffee, the Chainsmokers, Claptone, Dimitri Vegas & Like Mike, Dom Dolla, Don Diablo, Eric Prydz, Hardwell, John Newman, Martin Garrix, Netsky, Nicky Romero, Oliver Heldens, Paul Kalkbrenner, Purple Disco Machine, Robin Schulz, Sebastian Ingrosso, Shaquille O’Neal as DJ Diesel, Steve Angello, Steve Aoki, Tiësto, Timmy Trumpet, Topic and W&W.
The festival is once again set to host 400,000 fans each weekend.
Rapper, producer and entrepreneur Sean “Diddy” Combs is asking the New York Supreme Court to enforce a 2021 agreement that requires spirits seller Diageo to treat his DeLeon tequila brand “at least as favorably” as its other tequila brands.
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Combs signed an agreement with Diageo — which owns more than 200 brands including Guinness beer and Tanqueray gin — after what he says were years of neglect for DeLeon, a brand he established with the London company in 2013.
Combs’ lawsuit against Diageo was filed in May. But many details, including the 2021 agreement, were redacted at the time. On Wednesday, those details were released after Judge Joel Cohen ruled that Diageo could keep only limited portions confidential.
Combs says Diageo’s treatment of DeLeon worsened after it bought two competing tequila brands: Don Julio in 2014 and Casamigos in 2017. Combs, who is Black, says Diageo positioned his tequila as an inferior “urban” brand and limited its distribution.
Diageo has denied Combs’ accusations. In late June, it asked the court to compel arbitration or dismiss the suit. It has also in the process of terminating a partnership between Combs and Ciroc vodka, a brand he had promoted since 2007.
The newly public documents detail what Combs says was Diageo’s repeated disinvestment in DeLeon. As of last year, DeLeon was distributed in 3% of possible outlets, for example, while Don Julio was in 36%. DeLeon has been listed as “out of stock” in major markets at least ten times in the past year, the lawsuit says.
In 2021, Combs said he was informed that all of Diageo’s agave plants were allocated to other brands, forcing DeLeon to scramble to find suppliers in the more expensive spot market. Combs says Diageo also made unilateral decisions that harmed the brand, including discontinuing popular 375-millileter “half bottles” and launching a redesigned bottle with no marketing support.
Combs claims Diageo’s decisions were often tinged with racism. He says he was adamant that DeLeon not offer flavored versions until customers had more time to learn about the brand. But Diageo went ahead and developed a watermelon flavor, even though Combs had previously warned the company to be careful about the racist history and negative connotations with watermelon in brands aimed at Black consumers.
Combs says internal Diageo documents also proposed downplaying Ciroc’s connection to Combs with the goal of rolling back its “image of being an African-American brand.”
In its own court filings, Diageo accuses Combs of resorting to “false and reckless” allegations in an effort to extract monetary damages. Diageo also says sales of DeLeon have doubled since the 2021 agreement.
When introducing myself as the vp of marketing and wellness at Guin Records, a title that doesn’t conform to the usual melody of the music industry, I’m often met with raised eyebrows and intrigued inquiries. This blending of roles — pairing the vibrant, creative world of marketing with the crucial, human aspect of wellness — might seem unconventional to most in our industry. Yet, this combination isn’t just possible. It’s essential and, I would argue, long overdue.
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The responsibilities of my role involve walking the line between two worlds. I champion and promote the music our artists create, steering the narrative to connect deeply with new audiences and core fans. Simultaneously, I cultivate an environment that nurtures the mental and emotional well-being of our artists and staff.
At Guin Records, we embed wellness into the very fabric of our ethos and values. We recognize that the creative process, while exhilarating, can also be emotionally taxing. We acknowledge the highs and lows, the euphoria and the vulnerability that come with artistic expression. Therefore, we prioritize the well-being of our artists, empowering them to create and share their music in a sustainable and healthy way.
Why is this important? Because music is profoundly human. The music that touches our souls, the lyrics that resonate with our experiences and the performances that captivate our senses — all are born from the hearts and minds of individuals. Artists, like all of us, require support, care and an environment conducive to their growth and well-being.
How do we accomplish this? By acknowledging that an artist’s well-being is not a peripheral concern but a core element that directly impacts their art as well as our bottom line. As a concrete step, we offer non-recoupable wellness stipends to our artists. This financial support allows them the freedom to invest in their mental and physical health without burden.
Moreover, we maintain a strong alliance with non-profit entities like Backline, ensuring our artists and team members have readily available mental health resources. We’ve proudly signed the “Breaking The Barriers” pledge, committed to helping knock down long-standing roadblocks that often keep BIPOC communities from getting the mental health care they need. To further our investment in our team’s well-being, we’ve instituted a “Mental Health Day Policy.” This grants our employees the liberty to take much-needed breaks for personal rejuvenation; fostering a culture of prevention against burnout. After all, in nurturing our people, we nurture the music.
So I call on my industry peers to turn the volume up on this crucial conversation. Let’s recognize that a healthy artist creates better music, and a team that feels supported performs better. Let’s shift our industry narrative to one that doesn’t just produce beautiful music but also upholds the well-being of the beautiful minds behind it.
By prioritizing wellness, we’re setting the stage for a more sustainable, empathetic and human-centered music industry. By championing the music we love while investing in the well-being of those who create it, we pave the way for a sustainable industry that supports everyone involved. It’s not just about the end product but about the process, the people and the passion that fuel it all.
Brandon Holman is vp of marketing & wellness at Guin Records, whose artist roster includes Asha Imuno. Holman is also co-founder of The Lazuli Collective, an experiential wellness agency that delivers wellness and mental health programming to audiences around the world through events, music and consultancies including the Coachella Arts and Music Festival.
Meta is poised to unveil a new app that appears to mimic Twitter — a direct challenge to the social media platform owned by Elon Musk.
A listing for the app, called Threads, appeared on Apple’s App Store, indicating it would debut as early as Thursday. It is billed as a “text-based conversation app” that is linked to Instagram, with the listing teasing a Twitter-like microblogging experience.
“Threads is where communities come together to discuss everything from the topics you care about today to what’ll be trending tomorrow,” it said.
Instagram users will be able to keep their user names and follow the same accounts on the new app, according to screenshots displayed on the App Store listing. Meta declined to comment on the app.
Musk replied “yeah” to a tweet from Twitter co-founder Jack Dorsey saying, “All your Threads are belong to us,” along with a screenshot from the App Store’s privacy section showing what personal information might be collected by the new Meta app.
Threads could be the latest headache for Musk, who acquired Twitter last year for $44 billion and has been making changes that have unnerved advertisers and turned off users, including new daily limits on the number of tweets people can view.
Meta has good timing because Twitter users are growing frustrated with Musk’s changes and looking for a viable alternative, said Matt Navarra, a social media consultant.
Threads presents the “opportunity to jump to a platform that can give them many of the things that they want Twitter to continue to be that it no longer is,” he said.
Allowing Instagram users to port their profile to Threads could give the new app more traction with potential users by providing a ready-made set of accounts for them to follow, said Navarra, former director of social media at tech news site The Next Web and digital communications adviser for the British government.
Twitter has rolled out a series of unpopular changes in recent days, including a requirement for users to be verified to use the online dashboard TweetDeck. The policy announced Monday takes effect in 30 days and appears to be aimed at raising extra revenue because users need to pay have their accounts verified under Musk’s changes.
TweetDeck is popular with companies and news organizations, allowing users to manage multiple Twitter accounts.
It comes after outcry over Musk’s announcement this weekend that Twitter has limited the number of tweets users can view each day — restrictions that the billionaire Tesla CEO described as an attempt to stop unauthorized scraping of potentially valuable data.
Still, some users might be put off by Meta’s data privacy track record, Navarra said. And would-be Twitter challengers like Mastodon have found it a challenge to sign up users.
“It’s hard to tell whether the upset and discontent is strong enough to make a mass exodus or whether it will be somewhat of a slow erosion,” Navarra said.
Musk’s rivalry with Meta Platforms also could end up spilling over into real life. In an online exchange between Musk and Meta CEO Mark Zuckerberg, the two tech billionaires seemingly agreed to a cage match face-off, though it’s unclear if they will actually make it to the ring.
Sherrese Clarke Soares‘ HarbourView Equity Partners and Diddy‘s Revolt are among the bidders finalizing second-round offers to acquire a majority stake in BET Media Group from Paramount Global, according to two sources with knowledge of the talks.
Jesse Collins Entertainment, which produced the Grammys and this year’s SuperBowl halftime performance by Rihanna, is also mulling joining HarbourView and Revolt’s joint offer for the package of networks that includes VH1, said one of the sources, who requested anonymity due to the confidential nature of the talks.
Paramount Global is reportedly exploring selling a majority stake in BET Media Group, which includes BET, BET+, BET Gospel, BET HER, BET International, BET Jams, BET Soul, BET Studios and VH1, for as much as $3 billion, as it looks to offload assets like book publisher Simon & Shuster and preschool service Noggin to focus on its streaming business.
Sources say other bidders submitting second-round offers for BET Media Group include Tyler Perry and Byron Allen. Paramount is reportedly looking to finalize deals this fall.
A spokesperson for BET declined to comment for this story.
Soares, whose private equity firm owns rights to songs by regional Mexican trio Eslabon Armado, Luis Fonsi and Florida Georgia Line, confirmed during a red-carpet interview with Billboard at the BET Awards that HarbourView has an active bid for the media group.
“We are here because of how much we support the brand and how excited we are about the opportunity around the brand itself,” Soares said, declining to share further details.
A former Morgan Stanley managing director, Soares founded HarbourView in 2021, initially to acquire publishing and music recording rights — an investment strategy she helped develop as CEO and co-founder of Tempo Music. More recently, Soares has guided HarbourView’s investments in media companies, aiming to build out a distribution network for content soundtracked by artists in its catalog.
In March, HarbourView led a $90 million investment in a minority stake in MACRO, a film, television and branding company founded by Charles D. King, whose projects include Judas and the Black Messiah. Directed by Shaka King, Judas made history in 2021 as the first-ever film with an all-Black production team to be nominated for Best Picture at the Oscars.
“Our interest is to be fuel to the entertainment and media segment,” Soares told Billboard at the BET Awards, referencing HarbourView’s investments in catalogs and MACRO. Regarding the results of the bids for BET, Soares said, “We’ll let the cards fall where they may.”
Sara Evans signed with Nashville-based label Melody Place, which she joins in partnership with her own imprint, Born to Fly Records. The country singer is slated to return to the recording studio in October to work on new music, with an expected album release in 2024. It will be her first album of original material in seven years. “When the Melody Place team approached me about working together and expanding all the things I’d already been doing with my own label — Born To Fly Records, it became clear that they share the same passion and excitement about trying new and innovative things to connect fans with music,” said Evans in a statement. Evans is represented by manager Craig Dunn at One Spark Entertainment and agents Doug Neff and Becky Gardenhire at WME.
Independent artist Petey (“Don’t Tell the Boys,” “Lean Into Life”) signed with Capitol Records, which will release his new single, “I’ll Wait,” on July 7. He’s represented by managers Ethan Silverman and William Crane and agent Tor Breon at WME. He was previously signed to Terrible Records.
Bronx rapper Scar Lip (“Glizzy Gobbler,” “This Is New York”) signed with Epic Records, which will be releasing new music from the spitter “very soon.”
Singer-songwriter Vera Sola signed to City Slang Records, which released her new single, “Desire Path,” on June 28. It’s her first new release since 2019. Sola is represented by manager Jim Martin at XXVII Arts and agent Will Church at ATC.
Country singer/songwriter and rapper C’ing Jerome (“Barn Don’t Close”) signed a record deal with Average Joes Entertainment. The label released his latest single, “Average Joe,” on June 16.
Page 1 Management added London-based songwriter/producer Tommy Sanders and songwriter/producer David Kerckhoff to its roster. Sanders will work with Rob Turnham out of Page 1’s London office and Kerckhoff will work with Nina Musolino out of Page 1’s Nashville office.
Boston band Final Gasp signed with Relapse Records, which will release the group’s debut album, Mourning Moon, on September 22. The group’s 2021 EP, Haunting Whisper, was released by Triple B Records.
MNRK Music Group signed English “tech metal” band Turin to its heavy metal and hard rock imprint MNRK Heavy.
Twitter owner Elon Musk has limited the number of tweets that users can view each day — restrictions he described as an attempt to prevent unauthorized scraping of potentially valuable data from the social media platform.
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The site is now requiring people to log on to view tweets and profiles — a change in its longtime practice to allow everyone to peruse the chatter on what Musk has frequently touted as the world’s digital town square since buying it for $44 billion last year.
The restrictions could result in users being locked out of Twitter for the day after scrolling through several hundred tweets. Thousands of users complained Saturday (July 1) of not being able to access the site.
In a Friday tweet, Musk described the new restrictions as a temporary measure that was taken because “we were getting data pillaged so much that it was degrading service for normal users!”
Musk has pushed back on what he calls misuse of Twitter data to train popular artificial intelligence systems like ChatGPT. They scour reams of information online to generate human-like text, photos, video and other content.
Musk elaborated on the limits Saturday, saying unverified accounts will temporarily be restricted to reading 600 posts per day, while verified accounts will be able to scroll through up to 6,000.
After facing backlash, he tweeted that the thresholds would be raised to 800 posts for unverified accounts and 8,000 for verified accounts before later settling on 1,000 and 10,000 tweets, respectively.
The crackdown began to have ripple effects, causing more than 7,500 people at one point Saturday to report problems using the social media service, based on complaints registered on Downdetector, a website that tracks online outages.
Although that’s a relatively small number of Twitter’s more than 200 million worldwide users, the trouble was widespread enough to cause the #TwitterDown hashtag to trend in some parts of the world.
The higher threshold allowed on verified accounts is part of an $8-per-month subscription service that Musk rolled out earlier this year in an effort to boost Twitter revenue. It has fallen sharply since the billionaire Tesla CEO took over the company and laid off roughly three-fourths of the workforce to cut costs and stave off bankruptcy.
Advertisers have since curbed their spending on Twitter, partly because of changes that have allowed more sometimes-hateful and prickly content that offends a wider part of the service’s audience.
Musk recently hired longtime NBC Universal executive Linda Yaccarino as Twitter’s CEO to try to win back advertisers.
An Associated Press inquiry about Saturday’s access problems triggered a crude automated reply that Twitter sends to most media queries without addressing the question.
