AARON BAY-SCHUCK Warner Records US


In your opinion, how did deal–making change in 2025?


“The deal landscape is more competitive than ever, even for artists who may not yet have the data to back up early instincts. Frontline labels are increasingly doing distribution deals, and traditional agreements are trending towards shorter terms and limited commitments. While these shifts can benefit artists, they also make it more challenging to invest in long-term development. Building a lasting career often takes years, and deals aren’t always structured to allow that process the time it deserves.”


What was your favourite track of 2025? “Dijon’s Yamaha, because I simply have not been able to stop listening to it for months. Dijon brings together so many different influences, yet is so entirely his own person. The melodies are hauntingly beautiful and addictive, his productions are super complex yet utterly simple, and his voice just doesn’t sound like anyone else’s. Similarly to his song The Dress, you just want to press play on Yamaha again as soon as it’s over, and with each new listen, a new favourite part emerges. At the other end of the spectrum, I have had EsDeeKid’s LV Sandals on repeat. The energy and urgency in that record is felt from the first second and it’s filled with some great punchlines. And as a short song, it demands instant replays.”


And your album of the year?


“I need to shout out the Warner home team and give the nod to Sombr’s I Barely Know Her. Not only is the album chock-full of major hits that you don’t need to feel guilty about loving, but the album is also entirely written by Sombr – a remarkable feat from such a young artist on his debut album in a space often occupied by a handful of writers on every song. Even his breakthrough hit Back To Friends is produced entirely by himself, in addition to the songwriting. For me, this album has no skips. Clipse’s album Let God Sort Em Out was also one of my favourites of the year. No skips on that either.”


GOLNAR


TRACY GARDNER TikTok


How would you sum up your time in your role as TikTok’s global head of music business development so far?


“This role has already been a career highlight – it’s a real privilege collaborating with incredible teams to build what’s next for music discovery and culture on TikTok. Even with the intensity of the day-to-day at such a fast-moving company, getting to work closely with artists, labels, publishers and creators has been exhilarating.”


What do you want the business to know


about your vision for the music side of TikTok under your leadership? “My vision is big – to go even bigger on TikTok being the world’s best platform for music promotion and discovery. How do we do this? By constantly strengthening and evolving TikTok’s flywheel effect. This is how I see it: TikTok is a platform that initiates music discovery and promotion. Then, the Add To Music App feature makes it easier than ever before for fans to save music for repeat off-platform consumption on streaming platforms, which pushes music up the charts, and in turn increases fandom. And our newest evolution is to then bring all of this excitement to life through real-world superfan events, as we recently did with the likes of Miley Cyrus and Ed Sheeran. Finally, we bring the flywheel full circle by sharing these in-real-life moments on TikTok through LIVE streaming and fan creations.”


What was your track and album of 2025?


“Role Model’s Sally, When The Wine Runs Out. I first noticed it when I saw the videos of Role Model performing live with all these amazing ‘Sallys’ that came out on stage. The first one I saw was Natalie Portman and then I noticed all these powerhouse women come out to be ‘Sally’ – Reneé Rapp, Olivia Rodrigo, Kate Hudson… The list just keeps growing and growing. It’s an amazing country rock song. Ed Sheeran’s Play is my album of the year. I was working for Warner Music in London at the time that he started to get the recognition he deserved. Seeing him grow into the superstar that he is to the world has been a true joy. He is just such a great guy. TikTok held an event for Ed in Brooklyn in September and it was magical: 500 fans on a perfect New York City evening with the sun going down. I will never forget it.”


KHOSROWSHAHI Reservoir Media


You told us that Reservoir is “fighting the good fight” earlier this year. How did you do that in 2025?


“At Reservoir, we have continued to ‘fight the good fight’ by championing our songwriters and artists across every platform. In 2025, that has meant actively engaging in conversations around AI policy and copyright, securing equitable deals for our creators and expanding opportunities globally through thoughtful partnerships. Through board seats at the NMPA, ICMP, IMPF and more, the Reservoir team’s advocacy continues to push the industry towards a fairer future for creators and rights-holders. From unfair


government regulations to the ongoing fight for proper compensation on streaming to the exploitation of unlicensed works by AI and tech companies, it’s all part of making sure that the creators on which the entire music industry is built are properly valued.”


Which industry move impressed you the most this year and why? “Lisa Yang’s move from Goldman Sachs after 16 years to EVP, global head of strategy at Warner. Her work on the Music In The Air reports helped set a strong and widely respected standard for financial entities’ understanding of, and reporting on, the industry. It will be interesting to see how those insights are applied in her new role.”


Can you please tell us your favourite track and album of 2025? “Rachel Chinouriri’s Can We Talk About Isaac?. I saw her in New York and the crowd went wild, and with the momentum she built as an opener for Sabrina Carpenter, it feels like a breakout moment. I loved Reneé Rapp’s album Bite Me, on which our writers Ali Tamposi and Steph Jones collaborated. Reneé’s ability is undeniable, and Ali and Steph have proven once again how skilled they are at crafting hit pop songs that connect.”


musicweek.com


TOM CORSON Warner Records US


Casting your eye back over the past 12 months, did the music industry do enough to support artists in 2025?


“We’ve continued to invest heavily in talent at every level – putting in the time and resources to nurture and support them. Along with that, we’ve seen meaningful progress from our streaming partners, with increased prices now better reflecting the value of music and artistry. That said, we always have to keep looking ahead and make sure every change or disruption in our industry ultimately benefits our artists.”


What was your track of 2025?


“This is always an unfair question when there’s so much wonderful music out there! I will pick one I love, but it’s tied with so many others depending


on my mood: Sombr’s Back To Friends. It’s a major breakout for a truly talented artist whose future is so bright! I love his story and we were so happy to see him recognised as a Grammy Best New Artist nominee.”


And your favourite album?


“Linkin Park’s From Zero, which also landed a Grammy nomination for Best Rock Album! Last year, the band’s members Mike Shinoda, Brad Delson, Joe Hahn and Dave Farrell made the bold choice to evolve their DNA, by welcoming brilliant co-lead vocalist Emily Armstrong and uber-talented musician and producer Colin Brittain into the creative core. It kicked off with the now Grammy-nominated rock song The Emptiness Machine, which immediately ignited a global cultural moment and set the tone for the entire album. The choruses are massive and anthemic, and are paired with hyper-modern production that stands shoulder-to-shoulder with today’s biggest releases. Every track is hook-heavy and melodic, streaming like a pop record and hitting like a rock record. They reimagined what modern rock can be. Together, they created the rare album that won over both the day-one fans and the next generation discovering them for the very first time.”


Music Week | 23


PHOTOS: Carsten Windhorst, Gerard Hynes, BBC, Becky Yee, Louise Haywood-Schiefer


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