ALEC BOATENG 0207 Def Jam
How would you sum up 2025 in UK rap? “Dizzee Rascal said something that I thought was so poignant, that you don’t measure jazz by its chart success. That’s so spot on when it comes to rap. I’ve been lucky enough to work with a couple of generations of artists now, and I think there’s always this reset. The last time it felt like this was 2013/14 – there was the rush of Tinchy Stryder, Tinie Tempah, Wretch 32 having success, and then it went a bit quiet from a chart perspective, but a couple of years later, there was this kid called Stormzy. There was AJ Tracey, Novelist… and a new generation coming through.”
So more success is on the horizon? “Our job is to allow talented MCs to become great artists. But you’ve got to come across people that have the ambition to do it, and
just be patient, you know? With the new Dave album (below), there’s no coincidence that someone like [co-manager] Benny Scarrs, who worked with Tinchy, understands how to deliver that into the market. It’s not hit hunting or chart chasing, it’s just cycles.”
What was your favourite track and album of 2025?
“DameDame – Promise. I’ve just played it loads and loads. My album has to be a tie between Dave and Lily Allen. Those albums feel so like home to me. Timeless.”
KIM
FRANKIEWICZ Concord Music Publishing
Fraser T Smith was among a raft of Concord signings in 2025. What do you think is drawing writing and
producing talent to your stable? “I would like to think this is happening because Concord’s worldwide A&R team has a great reputation of working closely with their songwriters and producers.”
Which songwriting or publishing trends caught your attention this year?
ANNA-SOPHIE
MERTENS Live Nation
What has the reaction been like to winning at the Women In Music Awards this year? “The feedback has been really moving. A lot of people have shared how important it was to highlight the support needed for parents, especially mothers, in our industry. They felt seen, and that’s exactly why we need to keep pushing for positive change. I also received a lovely message from a father in the industry who shared my interview with his daughters to show them that being a mother in this field is achievable. It shows you just how important representation really is.”
How proud should the live sector be of 2025? “Immensely. It has been a huge year for touring and artists delivering at the top of their game.
On a personal note, having worked with Lewis Capaldi from the very beginning, seeing his comeback at Glastonbury, which led to a sell-out UK tour this year and an outdoor run in 2026, was pure joy and easily the most inspiring moment of my career.”
What was your favourite track and album of 2025?
“The Stand By Me cover by Stephen Wilson Jr gives me goosebumps every time. My album is Lux by Rosalía. What a record. It can move you like nothing else out there at the moment.”
30 | Music Week
“The one trend I have noticed of late is that people are starting to listen to albums again and not just a few songs. Both Olivia Dean and Lily Allen’s albums are an example of this.”
What would you say was your favourite track of 2025? “Olivia Dean’s Man I Need, a great, evergreen song. It is great to see the huge worldwide success this track is having. It’s fantastic for the UK music industry!”
And how about your favourite album? “Lily Allen’s West End Girl is a very brave and great album. I think the best thing about it is that people are listening to the record in its entirety.”
BOB
WORKMAN WMX, Warner Music
What did 2025 teach us about the importance of brands to artist campaigns?
“The Adidas x Oasis campaign reminded us all how simple, effective and visually elevating a brand collaboration can be if it has deep roots, and naturally matches the aesthetic and personality of an artist. It has been an unparalleled joy to be involved in this.”
How did your own work in this area move forward this year?
“We have doubled down on design collaborations, with Ed Sheeran x FC Barcelona x Spotify, Griff’s excellent on-going work with Asics, and in the US, our second Grateful Dead x Nike licensed collab, being just a few of many examples. We think very carefully about audience and brand fit, but also audience growth with the opportunity to surprise the market with something unexpected.”
What was your favourite track of 2025? “Sombr 12 To 12.”
And how about your favourite album? “Wolf Alice – The Clearing. It took me a stupid amount of time to properly focus on this incredible band, but I am now fully on board. Great songs, and one of the best lead singers around. A good friend introduced me to this album during a Californian road trip!”
LEANNE MISON ESEA Music
How did ESEA further its mission in 2025? “It’s been a year of real momentum, from mentorship and writing camps in London and Lisbon, to collaborations with Beatport, Warner, Downtown Music, UMG, Sony and the BPI. We’re also really excited about Wet Market, the new left-field British-Asian collective formed through an ESEA Music writing camp.”
What was your personal highlight of the year? “Being recognised at the Music Week Women In Music Awards and the AIM Awards for our SESAME Mentorship Scheme. It meant a lot to everyone who’s built this community from the ground up.”
What was your favourite track and album of 2025? “The song Escarbo Dimensiones by Titanic has a searing emotional pull, and my album is The Passionate Ones by Nourished By Time.”
MARTIN MILLS Beggars Group
Beggars celebrated its 49th birthday in 2025. How do you reflect on its impact in that time? “The party reminded us that our 49 years have been spent in the company of a wider community
that came together to celebrate and re-connect.”
Can you sum up how 2025 has been for the independent sector? “Confused, given that not only traditional indie labels but also aggregators and even divisions of Universal are apparently indie these days.”
What was your favourite track and album of 2025? “Lisa O’Neill’s The Wind Doesn’t Blow This Far Right. A song for the times. And Big Thief’s Double Infinity. The band for the times.”
musicweek.com
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