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Interviewing an artist of Angham’s caliber presents a unique challenge and a thrill, merging anticipation with the weight of her legacy. Angham is, after all, a towering figure in Arabic music, an extraordinary voice whose career bridges the classical foundations of Arabic song with its modern evolution over two dozen studio albums. This was not just an interview – it was an exploration into the journey of authentic art that has shaped contemporary Arabic music.
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As expectations filled the air, they quickly dissipated when Angham appeared in white, radiating a captivating smile. Angham takes in all opinions and comments with a calm demeanor, soothing the room’s tension. When she begins to speak, the atmosphere transforms: her words reflect a powerful personality, expressing complex ideas with simplicity and an undeniable charm that enchants her audience.
There’s no doubt that Angham has emerged as one of Egypt’s most impactful modern voices. Her journey began in the late 1980s, nurtured by her father, the renowned musician Mohamed Ali Suleiman, whose guidance and influence helped unlock her early talent. With training in music and piano, she developed a solid foundation in the musical arts, initially singing traditional Tarab (classical Arabic music) pieces that bore her father’s distinct artistic signature, such as the album Ila Ana (Except Me), in parallel with her collaborations with classical composers of Khaleeji music such as Talal Maddah, Suleiman Al Mulla and Sami Ihsan. Yet, in the late 1990s, after professionally parting ways with her father, Angham redefined her path.
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She embraced a modern style closer to Arab pop and reached a major milestone with the 2001 album Leih Sebtaha (Why Did You Leave Her?), marking her first collaboration with composer Tarek Madkour and Sherif Taj. The early 2000s also saw Angham experimenting with Latin pop, in the release of one of her most prominent hits, “Sidi Wasalak” (Why Aren’t You With Me?), and with it she established her new artistic identity, which she continued to grow and develop while absorbing new musical trends, and integrating them into the context of her own musical experience and identity. Through these works, she expanded her reach to a broader audience, solidifying her status as a central figure in the Arab music scene and maintaining her role as a bridge between Arabic music’s rich history and its present.
While it is difficult to pin any one of Angham’s albums over the other, another massive success for Angham was her album Hala Khassa Gdean (A Very Special Case) with hit songs “Ya Retak Fahemny” (I Wish You Understood Me), where we hear her nuance for emotional complexities of love develop more with each work, in addition to her vocal delivery and performance. With 29 studio albums under her belt, Angham’s prolific body of work has found a home in the hearts of her listeners year after year, where she has come to be known for her unique ability to sing a range of emotional experiences found in each stage of love.
Billboard Arabia’s conversation for the October cover began with her latest album, Tigi Neseeb (Let’s Leave). Each song, a journey into the depths of emotion, allowed Angham to share pieces of herself and the untold stories embedded within the lyrics. She describes the album as a story, explaining, “This album is like a story with a beginning and an end. It’s filled with stories of people and situations – very real and relatable. What ties it all together is the music, the expressive kind I resonate with.”
Angham’s musical expertise shines through as she discusses her talent for weaving stories from real-life experiences — narratives that listeners might recognize from their own daily lives or even feel personally connected to. She notes, “The album is like a drama; it’s as if you’re witnessing the stories of many people around you. Sometimes, you see yourself in the narrative, or you recognize two or three others whose stories you’re familiar with. It’s that simple, yet it’s a core reason for my success.” Angham unveils that the key to her songs’ success and uniqueness lies in her deep connection with her audience and the relatable stories they share. Each song she performs embodies a sense of authenticity, forging a personal bond between the music and the listener, as though she shares in the daily experiences.
She approached her latest album, Tigi Neseeb, not as a fixed blueprint but as a dynamic journey filled with transformations and experiences. “I wouldn’t lie to you and say I knew exactly what I was going to do; the album developed gradually, with changes in lyrics and musical arrangements. There was a plan, but it evolved for the better.”
After discussing her latest album, Angham elaborates on her artistic choices and musical collaborations. With dozens of albums under her belt, she articulates her philosophy regarding song selection, highlighting the stage’s pivotal role in her decisions: “I’m always focused on how a song will translate on stage; my choices are guided by this aspect because the stage is my essence. My concert is my soul.” Angham expressed her enthusiasm for direct audience interaction, an essential element in her creative process. “When I choose a song and its arrangement, I consider how it will start, end, and engage the audience; I’ll re-record as many as two or three times to reach that perfect ending that commands applause.”
For Tigi Neseeb, Angham maintained a thoughtful balance between longtime collaborators and fresh names she worked with for the first time. She sustained her successful collaborations with producer Tarek Madkour and lyricist Amir Teima, with whom she’s worked for over 20 years, crediting these long-standing collaborations with upholding her distinctive musical identity. At the same time, she brought in new, unexpected collaborations. In her conversation with Billboard Arabia, Angham highlights the album’s surprise: collaborating with Akram Hosny, initially an Egyptian comedian, who contributed songs like “Khalik Ma’aha” (Stay With Her) and the title track.
Angham
Sharbel Boumansour/Billboard Arabia
On her album, Angham also introduced new vocabulary into her piece with lyricist Mostafa Hadouta, whose background in mahraganat music added a fresh layer to the song “Mowafaqa” (l Agree). Unpacking the album’s rich collaborations, she also praises three poets she worked with for the first time on Tigi Neseeb, including Hala El Zayat, whose song “Howa Enta Meen” (Who Are You Anyway) achieved remarkable success, landing in the No. 9 position on Billboard Arab Hot 100. Tigi Neseeb’s performance on the Billboard Arabia charts proves its remarkable success, with 10 out of 12 songs finding a home on Billboard Arabia’s Hot 100.
But Angham isn’t just a singer, performer and classically trained musician — she is also a businesswoman. In her interview, she unveils her most ambitious endeavor to date: her own production company, Sowt Masr (The Sound of Egypt), which launched with its debut album, Tigi Neseeb. Established between 2014 and 2015, the company initially aimed to produce her personal projects, yet Angham’s vision extends far beyond her own artistic ambitions. She expresses, “Deep down, I aspire to nurture new voices, and with time, I will make that happen.” Angham emphasizes that her role as a producer is not merely to finance projects but to guide emerging talent on the right path. Her insight highlights a transformative view of the producer’s role – one that encompasses organizing and creatively directing rather than just providing funding.
Looking ahead, Angham was unequivocal about her commitment to continuous innovation. “As I speak, I’m actively engaged in new projects. Music constantly flows through my mind, inspired by the words I hear and read, along with new songs and fresh collaborations,” she shared. Her boundless ambition drives her to enhance her artistic repertoire through collaborations with new composers and artists who can add their flair to her work.
Angham is not just an artist; she embodies a modern classic Arabic voice and serves as a vital link between musical generations. With her album Tigi Neseeb, its diverse collaborations and her production venture, Sowt Masr, she demonstrates her remarkable ability to adapt and innovate while remaining true to her artistic roots. The interview concluded on an inspiring note, envisioning a bright future not only for Angham but also for emerging artists who may find her label Sowt Masr a springboard to new horizons in the music industry. As she continues to pave the way, Angham’s legacy promises to illuminate a path for the next wave of talent and Arabic music at large.
Angham
Sharbel Boumansour/Billboard Arabia
EMPIRE is officially stepping into Asia as the powerhouse independent label announces the appointment an executive with a track record of fostering crossover talent. Known for being pivotal in developing several breakout Asian acts, Jeffrey Yoo has been appointed EMPIRE’s senior vp of East Asia, the company announced on Thursday (Oct. 31). The seasoned exec […]
ASCAP and SACEM are expanding their existing relationship into an alliance that will allow them to invest together in data technology and collect directly from streaming services in more foreign markets, plus launch an AI task force and encourage collaboration among songwriters. Since 2022, SACEM has collected money from online services in foreign markets for ASCAP […]
HYBE CEO Lee Jae-Sang has shared a public apology following a partial leak of the company’s internal “Weekly Music Industry Report,” which boasted what some have called disparaging remarks about the K-pop industry, including some young artists.
The letter stemmed from a Thursday (Oct. 24) court hearing regarding the HYBE audit carried out by the South Korean National Assembly’s Culture, Sports, and Tourism Committee. The Korea Herald reported that Democratic Party representative Min Hyung-bae revealed the weekly document during the heart. Reportedly spanning around 18,000 pages, Rep. Min noted that the document contains unverified rumors and at times harsh commentary on very young artists, including minors, with alleged statements including, “They debuted at an age when they’re at their most unattractive” and “Surprisingly, none of them are pretty.”
In response to the leak, a letter by Lee that was posted on the company’s official website on Tuesday (Oct. 29) offers an apology “to the artists, industry stakeholders, and fans” who were upset the the revelations.
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“This document was created as part of a process to retrospectively gather various reactions and public opinions on industry trends and issues,” wrote Lee, clarifying that it was shared only with “a limited number of leaders.” However, he acknowledged that it was “highly inappropriate” for the document to feature “provocative and explicit expressions directed at K-pop artists,” adding, “As the representative of the company, I acknowledge all the mistakes and take full responsibility.”
Lee added that HYBE is “reaching out to each agency individually to offer our apologies directly” and continued, “I am also sincerely extending an official apology to all the artists of HYBE Music Group who have been subjected to criticism due to the company.”
Lee further promised “to establish guidelines and strengthen internal controls to prevent such issues from occurring again” and added that the company has halted the creation of such documents. Near the end, he emphasized HYBE’s dedication to the well-being of all artists and its respect of the fans, committing to reforms aimed at contributing positively to the K-pop industry.
Read the full statement (with translations provided by Soompi) below:
As the CEO of HYBE, I extend my sincere apologies regarding the HYBE monitoring document.
Regarding our monitoring document that was highlighted during the National Assembly’s Culture, Sports, and Tourism Committee audit on October 24, I deeply apologize to the artists, industry stakeholders, and fans.
This document was created as part of a process to retrospectively gather various reactions and public opinions on industry trends and issues. Although it was intended to be shared only with a limited number of leaders to understand market and fan sentiments, the content was highly inappropriate. The document contained provocative and explicit expressions directed at K-pop artists, included personal opinions and evaluations of the author, and was preserved in written form. As the representative of the company, I acknowledge all the mistakes and take full responsibility. I am particularly sorry and distressed about the unfounded suspicions of reverse viral marketing that are not true at all, causing misunderstandings and harm to innocent artists and individuals.
I formally and respectfully apologize to the external artists mentioned in the document who have suffered damage and distress. We are also reaching out to each agency individually to offer our apologies directly. Additionally, I am also sincerely extending an official apology to all the artists of HYBE Music Group who have been subjected to criticism due to the company.
I acknowledge the lack of awareness among the leadership who received the document and, as CEO, I have immediately halted the creation of such monitoring documents. I promise to establish guidelines and strengthen internal controls to prevent such issues from occurring again.
Once again, I apologize to the artists, industry stakeholders, fans, and everyone who loves and supports K-pop for the pain caused by this incident. As the company’s representative, I commit to thorough reflection and self-examination to rectify past mistakes and prioritize the rights of all K-pop artists and respect for fans. We will do our utmost to contribute to the healthy development of the K-pop industry.
Thank you. HYBE CEO Lee Jae-Sang
ByteDance founder Zhang Yiming tops the list of China’s richest people, according to the Hurun Research Institute, although many of them have seen their net worth plunge over the past year.
The institute, which publishes the annual Hurun China Rich List, found that the total wealth of entrepreneurs on the list this year was $3 trillion, down 10% from the previous year.
The number of billionaires based on their net worth in U.S. dollars was also down 142, to 753. Hurun tallied 1,185 billionaires since 2021.
“The Hurun China Rich List has shrunk for an unprecedented third year running, as China’s economy and stock markets had a difficult year,” said Rupert Hoogewerf, chairman and chief researcher of the Hurun report.
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ByteDance’s Zhang came in No. 1 for the first time this year, with a net worth of $49.3 billion, according to Hurun. ByteDance, which is the parent company of popular short-video platforms Douyin and TikTok, saw its revenue grow to $110 billion last year.
He is also the first individual born in the 1980s to top the Hurun list.
Bottled water magnate Zhong Shanshan fell to second place in 2024 with $47.9 billion, after his brand Nongfu Spring faced backlash in February when consumers accused it of disloyalty to China due to designs of its bottles.
The backlash wiped out billions in market value for Nongfu Spring.
Coming in third is Tencent founder Pony Ma with a net worth of $44.4 billion, as the gaming firm saw its revenues rise.
This year’s China Rich List had just 54 new names added to the list, the lowest figure in two decades. New additions include Charlwin Mao and Miranda Qu Fang, the founders of Xiaohongshu, a social media and lifestyle platform popular with young users.
China’s economy has lagged in the aftermath of the COVID-19 pandemic as the country grapples with a real estate crisis and a volatile stock market. Policymakers are expected to unveil major stimulus measures to encourage consumption and spending, which have declined in recent months.
Toronto is preparing for a new era.
Taylor Swift will bring her behemoth Eras Tour to the biggest city in Canada for six sold-out shows in November. But Torontonians know all too well that major concerts can lead to bad traffic downtown. The city has announced that to help those shows run more smoothly, there will be a ‘Limited Activity Zone’ around the Rogers Centre stadium during the two weeks of Swift-mania.
Planned work in the zone — like construction or filming — will be limited to off-peak hours and will require express permission from the City of Toronto, though emergency work will be allowed.
The zone covers a sizeable area of Toronto’s downtown and will aim to keep traffic flowing as roughly 240,000 fans attend Taylor Swift’s performances. The affected industries shouldn’t be too worried though — the zone will only be in place for a fortnight, from Nov. 11 to 25.
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The ‘Limited Activity Zone’ isn’t the only infrastructural adjustment needed to account for Swift’s superstardom. Rogers revealed last week that it just completed an $8 million upgrade to its 5G network at the Rogers Centre, so fans can livestream the enchanting spectacle in real-time — or just text their friends, which can be tough during service overloads at major events.
The route from Rogers Centre north to Toronto’s Nathan Phillips Square, where City Hall sits, will also be renamed Taylor Swift Way for the month. Signs will designate the new name, guiding fans into the ‘Limited Activity Zone’ where Swift will take the stage.
The city is anticipating a major financial boost from Swift’s visit, with over $250 million in economic impact projected.
Taylor Swift performs in Toronto from Nov. 14-16 and again from Nov. 21-23. –Rosie Long Decter
Slipstream Acquires Anthem Entertainment’s Extensive Production Music Portfolio
Music licensing platform Slipstream has announced that it has acquired the production music portfolio of Toronto-based music rights company Anthem Entertainment.
The acquisition of Anthem Production Music Group includes three major brands: Anthem’s production music agency Jingle Punks, independent production music library 5 Alarm Music, and U.K.-based independent production music publisher Cavendish Music. The net result is the addition of over 650,000 tracks to Slipstream’s catalog.
Slipstream says the acquisition positions it as “the largest global independent music licensing platform.”
There are long and close connections between the principal players involved. Slipstream was founded in 2021 by CEO Dan Demole and chief revenue officer Jesse Korwin. Demole was the co-founder of Jingle Punks and former president of Anthem Production Music Group, while Korwin served as managing director of Jingle Punks.
“This acquisition is a homecoming for us,” says Demole. “Jesse and I built both Jingle Punks and Slipstream on the foundation of making great music accessible to every type of creator. We now have an unprecedented opportunity to build on the success of both brands while leading the next wave of innovation in music licensing. With this vast catalog and our tech-enabled platform, we’re not only the largest independent player in the space, but also the most innovative.”
The expanded platform will serve a diverse client base, from individual content creators and small businesses to global brands and enterprises. Slipstream said the acquisition is in line with its goal to streamline music licensing across TV, film, advertising, gaming, social media and brands.
Anthem Entertainment will make an investment in Slipstream as part of the transaction. Anthem Entertainment CEO, Jason Klein, who is one of Billboard Canada’s 2024 Power Players in the Publishing category, commented: “Anthem’s focus since my appointment in January 2023 has been on building its core music publishing and recorded music divisions, while considering the best path forward for our production music businesses.”
“This sale to Slipstream has placed Jingle Punks, 5 Alarm and Cavendish Music back in the familiar and capable hands of proven leaders in the production music and technology space. Dan and Jesse already know these businesses and have a unique vision for their future as part of Slipstream. Our belief in them as leaders and their vision is the reason we have also chosen to invest in Slipstream going forward.”
The New York City-headquartered Jingle Punks has long maintained an office in Toronto, alongside branches in Santa Monica, London, Sydney and Melbourne. – Kerry Doole
Billboard Canada Parent Company AMG Acquires Major Stake in Music Festival NXNE
Artshouse Media Group (AMG) has acquired a major stake in Toronto music festival North By Northeast (NXNE).
The media company — which publishes Billboard Canada, Billboard UK and Rolling Stone Quebec and also owns Arts Help, Waveland Canada and the Climate Library — will own 50% of the long-running festival. The acquisition begins a long-term partnership, starting with NXNE’s landmark 30th anniversary edition from June 11-June 15, 2025.
“This partnership with NXNE comes at an exciting time for both Billboard Canada and AMG. As NXNE marks its 30th anniversary, we are aligning our shared goals of elevating artists and engaging music lovers,” says Amanda Dorenberg, CEO of Billboard Canada and AMG. “Together, we’ll amplify the festival’s impact, providing artists with a broader platform to reach audiences and creating new ways for fans to discover fresh talent.”
Michael Hollett will continue as NXNE’s president and CEO, while Barbara Hefler serves as managing director.
NXNE launched in 1995 and quickly established itself as the heart of Toronto’s live music scene. Originally formed in partnership with Austin’s SXSW, it evolved its own identity for recognizing and showcasing emerging talent in the early stages of international success. Artists from Lizzo to Daniel Caesar, Feist, Grimes, The Beaches, Mac DeMarco, Haviah Mighty, Sam Roberts and Billy Talent have played critical NXNE showcases at breaking points in their careers.
The festival has also been responsible for some legendary headlining shows from acts including Iggy Pop & The Stooges (one of the biggest free shows ever in downtown Toronto at Yonge-Dundas Square), Vince Staples, the Flaming Lips, The National, Post Malone, Tyler, The Creator and many more.
The collaboration with AMG and Billboard Canada will grow the festival’s reach in its landmark 30th anniversary edition with new co-produced programming and activations to be announced soon.
Artist applications are open now at nxne.com. 2025 venues will include The Garrison, Drake Underground, Collective Arts brewery and more, plus a new official festival headquarters at The Theatre Centre on Queen West.
The 30th anniversary edition will celebrate the festival’s rich history and the big acts who have played over the decades, while staying committed to its “Listen to the Future” tagline and its commitment to always looking for the next big thing in music.
“We want to meet and exceed NXNE’s ‘glory days’ as a citywide, community-engaging discovery festival,” says Hollett.
Warner Music Group announced the launch of Warner Music Africa Francophone (WMAFR) on Thursday (Oct. 24).
The new venture will “spotlight incredible talent from Francophone Africa,” co-director Yoann Chapalain said in a statement. “It aims to connect diverse sounds and regions, elevate releases for maximum success, and expand the music’s reach globally.”
The launch comes at a time when demand for French-language music is growing. “Since 2019, French-language music streams have surged by 94%” on Spotify, the streaming service noted in a blog post in September.
“All regions of the world are embracing the richness and diversity of the French-language music scene,” according to Jeremy Erlich, head of music content at Spotify. “There’s been a sharp rise in the number of French-language music listeners on Spotify.”
Warner Music Africa Francophone will be a collaboration between Warner Music Africa, Warner Music France, and Africori, a distribution company. WMG previously announced that it acquired a majority stake in Africori in 2022.
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The company was working with around 7,000 artists at the time. “African music is booming all around the world and some of our artists are right at the heart of the explosion,” Yoel Kenan, CEO of Africori, said in 2022. “Through our partnership, Warner Music has proven that it is the perfect home for Africori and our artists going forward. I’m looking forward to continuing to work with them as we break more artists on a global scale.”
WMAFR will be led by Chapalain along with Marc-André Niang. Chapalain also serves as A&R Manager at Africori, and Niang continues on as A&R director, French-speaking African repertoire at WM France.
“It’s important for us to be able to create new synergies for the development and structure of the Francophone market in Africa,” Niang said in a statement. “While the region is steeped in both culture and talent, the ecosystem faces challenges. Our team will connect creatives and help shape the environment to drive cross-cultural success.”
Simon Robson, WMG’s president of recorded music for Europe, Middle East, and Africa, likened WMAFR to 91 North, a joint venture between Warner Music Canada and Warner Music India that launched in 2023.
“There’s a strong cultural trade route between France and West Africa,” Robson added. “WM Africa Francophone will help us support the artists in that space.”
As Billboard reported Thursday (Oct. 24), global royalty collections rose 7.6% to a new high of 11.75 billion euros ($10.9 billion, based on the average exchange rate for 2023), according to the Paris-based trade organization CISAC (the Confédération Internationale des Sociétés d´Auteurs et Compositeurs). That article covers the basic news — digital collections grew 9.6% to 4.52 billion euros ($4.18 billion); radio and television collections declined 5.3% to 3.37 billion euros ($3.11 billion) after a significant jump the previous year; and live and background music collections grew 21.8% to 3.06 billion euros ($2.82 billion), fueled mostly by a resurgent concert business. There’s more detail in the news article.
Now let’s take a longer-term look at the state of the market to see where all the recent growth has come from and what that implies about the future. Since 2019, the music collections business has grown from 8.92 billion euros ($8.24 million) to 11.75 billion euros ($10.9 billion), an increase of 31.7% over five years, which is annualized growth of more than 6%. That arguably presents a more accurate picture of market trends than year-by-year changes from this period, since the concert business was so disrupted by the pandemic.
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Most of that growth came from digital, which grew 119% — from 2.06 billion euros ($1.9 billion) in 2019 to 4.52 billion euros ($4.2 billion) last year. Perhaps more important, the 2.46 billion euros ($2.27 billion) of digital growth represents almost all the growth in the business during that time. And that growth is starting to slow. In 2023, digital growth slowed from 35.1% to 9.6%, which contributed to an overall slowing of growth from 29% to 7.6%. Some of that is inevitable — subscription streaming growth has leveled off in the U.S. and Western Europe, the biggest markets that traditionally drive the business. Together, the U.S., Western Europe and Canada account for almost 75% of collections revenue. Digital revenue will almost certainly keep growing — from price increases and new products, among other factors, but the wonder years of digital growth may be in the past.
The state of global royalty collections offers other reasons for optimism, though. First, a caveat: These numbers don’t provide a perfect picture of the music publishing business, or even public performance royalties, since some digital royalties are paid through direct deals. These numbers represent the best global picture of the collecting business available, though, and it seems safe to say that the direct deals, for which numbers aren’t available, roughly follow these trends. This almost certainly understates the growth of the music publishing business, though, since it doesn’t include U.S. mechanical publishing royalties, any synch rights and a variety of new kinds of deals.
The challenge for collecting societies is that the second largest source of revenue, from TV and radio play for compositions, does not seem to be growing. It was 3.4 billion euros ($3.14 billion) in 2019 and it’s now 3.37 billion euros ($3.11 billion) — a more significant decline than it seems, given inflation. Since this revenue is tied to TV and radio businesses in most markets, some of it seems to have gone to digital, which has replaced it as the most important source of revenue.
There’s more hope in the live business. The disruption of the pandemic made this hard to see, but live and background music royalties are growing steadily — from 2.71 billion euros ($2.5 billion) in 2019 to 3.06 billion euros ($2.83 billion) last year — a rise of 12.7%. That’s not so big, divided over five years, but live is growing faster than the rest of the category, and growth in ticket prices for the biggest tours will result in more royalty revenue in territories where that’s linked to ticket prices. That trend is expected to continue, too. That could make live music an important source of growth in both established markets and new ones.
Right now, the collecting society revenue breaks down as follows: 38.5% of money comes from digital; 28.7% from TV and radio; 26.1% from live and background music; 3.2% from CD and video sales; 2.4% from private copy levies (which the U.S. does not have); and 1.1% from other sources. How might that look five years from now? It’s hard to imagine digital climbing above half since that would imply a significant decline for TV and radio revenue. Live royalties should climb, maybe significantly, and background music revenue could climb in some markets, although it’s not likely to grow so much in the U.S. and Western Europe.
The origins of collections revenue will also change: There’s also really impressive growth coming from parts of the world that barely generated much revenue five years ago. Collections in Latin America rose 26.2% last year but 108.2% over the last two years, driven by Mexico and Brazil and the spread of streaming throughout Latin America. Right now, that impressive growth doesn’t change the overall picture much — the region still only accounts for 5.9% of collections revenue. But if that growth pattern continues, the market could become significant soon. Over the last five years, Latin America collections went from 4.1% of the global total to the aforementioned 5.9% share.
The same goes for some markets in Asia. Overall, there’s not much growth there — it’s down 0.3% because of Japanese currency fluctuations but up 6.8% on a constant currency basis. But Vietnam, Indonesia and the Philippines, where between 80% and 85% of collections revenue comes from digital, are up 270.4%, 111.6% and 325.8%, respectively, over the last five years. Those increases aren’t big enough in revenue terms to lift the overall business, but they’re growing fast enough that they could make a difference five years from now. Africa, hailed as having so much potential, seems to be stuck: It went from accounting for .7% of global music collections to .6%. That won’t matter much to overall revenue anytime soon. But it shows how the music business still faces serious challenges in Africa, as well as how those challenges impact real, working creators. These problems are complicated, but they are also urgent: Creators in Africa deserve better.
Growth is continuing in bigger markets, however; the top 10 markets grew 6.3% last year. Over the past five years, the U.S. and Canada grew 44.4% and 38.9% respectively, with the U.K., France and Germany up 44.5%, 34.7% and 20.2%. The strongest growth over that time took place in Korea, up 70.9%. The health and stability of the larger markets should make it easier for the fast-growing smaller ones to improve the entire business.
Global royalty collections for song rightsholders grew 7.6% last year, to a new high of 11.75 billion Euros ($10.9 billion, based on the average exchange rate for 2023), according to CISAC (the Confédération Internationale des Sociétés d´Auteurs et Compositeurs), the Paris-based collecting societies trade organization. Much of the growth was driven by two categories: Digital collections rose 9.6% to 4.52 billion Euros ($4.18 billion), while live and background music royalties grew 21.8% — fueled largely by the concert business — to overtake the pre-pandemic total from 2019.
The big collecting societies all had good years, but the CISAC report offers unparalleled insight into a complicated but important part of the music publishing business. (CISAC includes other collecting societies from outside the music business, but publishing accounts for most of these royalties, which are, in turn, more important to music than to other businesses. CISAC breaks out music royalties, but its figures only include those that go through CISAC member societies rather than direct deals.) There are no big surprises here: Digital has been the main driver of growth recently, more than doubling in five years from 2.06 billion Euros ($1.90 billion) in 2019 to 4.52 billion Euros ($4.18 billion) last year — although last year’s growth of 9.6% was lower than in any of the preceding four. Digital now accounts for 38.5% of collections, more than any other category.
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Collections for broadcast and live concerts and background music represent the two other major sources of revenue, accounting for 28.7% and 26.1%, respectively. (Background music refers to compositions played in public, at restaurants, stores or bars, for example.) Royalties from TV and radio declined 5.3% to 3.37 billion Euros ($3.11 billion) after a significant jump the previous year. They have stayed fairly steady over the past half-decade.
The live and background music figures are more complicated because of the disruption from the pandemic. Last year those categories grew to 3.06 billion euros ($2.82 billion), fueled mostly by the return of live music revenue, which in some regions may lag live music events. More significantly, that represents a 12.7% jump from 2019.
Collecting societies take in most of their business in Europe and the U.S.; CISAC has one category for Western Europe and another for the U.S. and Canada. Western Europe collections rose 8.2%, while those in the U.S. and Canada rose 7.8%. Taken as a whole, Europe accounts for more than half of total collecting society revenue, and the U.S. and Canada together account for another 27.1%. Asia-Pacific royalties shrank by .3%, largely due to currency fluctuations in Japan, without which the region would have seen 6.8% growth. The fastest growing region is Latin America, up by 26.2% — and by 108.2% over the past two years – although it only accounts for 5.9% of the overall market. Africa, where executives have seen massive potential for years, is still growing very slowly – up 3.2% to .6% of the overall market.
General CISAC collections are also up 7.6%, to 13.09 billion Euros ($12.1 billion), also an all-time high, with digital up 9.6% to 4.62 billion Euros ($4.3 billion). (This includes collecting societies for other media, such as writing and visual art, which many countries in Europe have.)
Billboard will follow this news story with a more extensive analysis of growth sectors, the future of various markets, and how this business might grow in the years ahead.
Achille Lauro has had many different lives: that of a “street boy” in the Roman crew Quarto Blocco, then as protagonist of the Sanremo Festival and Eurovision Song Contest, a performer in sold-out arenas, entrepreneur and now a judge on The X Factor Italy. He is a person with solid, sincere and passionate convictions, who put their idea of an artist at the center of attention, capable of overlooking everything but never their own abilities and determination. Meeting Achille Lauro for this interview on a nice afternoon in Milan — after the release of his latest single “Amore Disperato,” with the delicate sound of a piano lesson in the background — was just the confirmation of all this.
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As an artist, but not only, you reinvented yourself several times. You are like a cat: you have nine lives.
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I hope, so I still have some to spend! For me, life is always full of opportunities for change. I don’t think I’m the only one. There are people who live just like this, changing their skin and their lives, chasing an idea, aiming for an increasingly distant goal. My curse, but also my blessing, is all of this. I often feel so projected toward the future that I can’t live well in the present. However, this is also my strength: being beyond the contemporary. The worst thing they wrote about me was that I always tried to amaze people, but instead I just tried to surpass myself, often ending up in territories I didn’t know. I don’t want my job to turn into an assembly line.
After all, you are artistically omnivorous and have nothing to defend other than your talent.
I like “omnivorous,” but I believe that talent is ultimately not enough. Dedication toward what you love and extreme commitment count. In the end, all this leads to great results, as well as always seeking innovation. It’s true, I’ve never been afraid of losing anything. Each of my albums is always different from the previous one, because I am looking for a new universe to immerse myself in. I think it was harder initially for a listener to understand my direction. But I’m not reassuring, I don’t want to bring you into a comfort zone by always doing the same thing.
You’ve been on the scene for 10 years, and in this decade, everything has happened musically in Italy: a real generational revolution in the charts, but also the renewal of Sanremo – and you have been the protagonist of the festival several times.
They have been 10 intense years because there has been a great evolution of our music scene, especially thanks to younger artists. Many of them have understood that the more unique and particular they make themselves, the more they strike the chords of the public’s feelings. I’m not even completely convinced that Auto-Tune was the stylistic hallmark of this era. Already in the ’70s funk bands used the Vocoder, then there were Daft Punk in the ’90s…. When I started, it was the era of street rap, in which you had to say certain things and maybe you were ashamed to show your feelings, your weaknesses. Today, however, there is room for emotions, which is very important for me. However, there has been a great evolution in the trap and urban scene. We went from a very dark production to something lighter. Above all, those kids who come from the suburbs didn’t ape the Americans but chose their own narrative path, going much higher in quality. They tell of miserable realities that are in contrast with the luxury that glitters 15 minutes away from them. Milan is the place par excellence to describe this discrepancy. For them, as for me, music is a path to redemption and redemption. Then it’s nice that pop is no longer considered synonymous with poor music, and this allows many young artists to try their hand at this genre without fear.
Achille Lauro
Marcello Junior Dino/Billboard Italy
What do you think about the fact that electronic dance music is connecting more and more with pop? It is a process that began many years ago but continues at a mainstream level in Italy, too.
True. I would like to open the top 50 and hear globally competitive productions and also an acceleration toward the contamination between dance and what really characterizes one’s culture, one’s country. Look at what is happening in Spain with Rosalía or C. Tangana, who take their tradition and mix it with something new.
What are you finding as a judge of The X Factor?
I’m trying to find something strong in identity in my team. My final three choices are slightly unconventional talents. I’m delighted to be able to try to do something different for the program. In the end, in Italy, only The X Factor and Sanremo are left to give great motivation to kids, to new talents…. Only in these contexts does something different and important really happen.
And you know a lot about Sanremo.
Let’s say that I was part of a change for the better. The festival was more permeable to the innovations seen in our music scene. It approached very distant worlds that never paid attention to before. Standing on stage with 10 million people watching you is an opportunity that I have always taken advantage of, even when I made mistakes.
Now, after four times at the festival, would you like to do Sanremo more as a guest or as a competitor?
If I have the right song I would go as a contestant. I love what I do and I want to take it to the top, but not in a grimly economic sense. I’ve always found my way, now I’m also an entrepreneur, I’ve opened a real estate company, so I’m not thinking about Sanremo for an economic question. But I’m ambitious: Sanremo is like the Champions League for a footballer. If you go there, you do it not only to participate but to win.
In your movie Ragazzi Madre: L’Iliade there is a passage where you reveal your great love for ballads, and the new single “Amore Disperato” is an intimate song, with acoustic sounds and a melancholic flavor.
I love ballads because they allow me to talk about my personal stories, to tell my experience, without inventing details to embellish them or make them more authentic. It’s all in that song. I want to maintain a certain simplicity, which for me goes hand in hand with authenticity. “Amore Disperato” is about a true story, so it was very easy for me to make it.
You recently went to the United States and talked about a future collaboration with Arturo Fratini, aka Lester Nowhere. We know he worked with Kanye West after giving him a CD with his phone number.
We did some things together during my work trip to Los Angeles, which was a very interesting and profitable period for me. Lester Nowhere is a very interesting artist and another demonstration that between obsession and attraction something incredible can happen. As in his case: meeting and then working with a great artist like Kanye West.
Achille Lauro
Marcello Junior Dino/Billboard Italy