DAMARIS
REX-TAYLOR RCA
Me, myself and AI: Gee Davy with a group of artists, executives and MPs outside Parliament campaigning for greater protection against AI
GEE DAVY AIM
Tell us the highlight of your first year as AIM CEO? “Having the opportunity to push forward a range of collaborative projects and seeing their impact – from our work with the Creative Rights In AI Coalition, resulting in a change of direction on AI policy for the creative sector, to sharing expert knowledge via our programming at The Great Escape in collaboration with the FAC, MMF, MU, the Ivors and MPG. We also programmed the first Above The Noise conference in partnership with Bristol Beacon, along with many other collaborations throughout the year to help independents find capital, knowledge and success.”
How is the indie sector holding its own in terms of UK market share?
“Through sheer hard work, expertise and investment in some of the country’s most exciting and groundbreaking creative talent. We know from government reports that this produces better outcomes for artists, and it shows. Top 10 albums this year for independents included Domino, Young, Ninja Tune, LAB, Transgressive, Jagjaguwar, Cooking Vinyl and many more. It’s telling that we saw lots of newcomers in the industry coming through in the lists for our 15th anniversary edition of The Independent Music Awards this year. Data shows it’s harder and more costly to get a release to break even and for artists to break through, and that UK growth has slowed dramatically. It’s a labour of love
CAM PIA BBC Radio 6 Music
What do you feel 6 Music did best in 2025?
“One of the best parts of my job is giving artists a platform to tell
their stories – we do it every day at 6 Music, it’s part of our DNA. And a highlight from this year was CMAT’s Artist in Residence: AAA – four radio shows and a film which saw her digging into her creative process with her producer Oli Deakin. It dropped on iPlayer and BBC Sounds at the height of CMAT summer and was an incredibly special insight into her songwriting genius and her exquisite taste – plus a bunch of iconic screaming.”
What was your track of 2025?
“Taxes by Geese. Three minutes-ish of indie rock perfection from one of the bands of the year.”
And your favourite album? “It has to be Lux by Rosalía – just totally mind-blowing and beautiful. It’s the sound of an artist setting the agenda for others to follow.”
musicweek.com industry in 2025?
“The continued dominance of female artists expressing themselves and their art in whatever way they wished to. A particular highlight being Sabrina Carpenter revelling in singing, ‘I’m so fuckin’ horny’ to sold out arenas up and down the country.”
And the year’s best-kept secret? “Robyn dropping her first new music in seven years in November.”
What was your track of 2025?
“Stick by Jim Legxacy – epic sample, epic beat and as always, his great delivery.”
And your favourite album?
“Like A Ribbon by John Glacier. Literally, every single lyric…”
What was your favourite track and album of 2025? “I could pick any of the stunning and inspiring collabs with nature [as part of the Sounds Right project]. I’m loving Heaven (Butterflies) by Jacob Collier. The fact that it was co-written with The Earth is an added beautiful dimension! [For album] Pulp’s More – it was a massive and much-needed injection of joy this year.”
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for independents and grassroots communities to see the successes they are having. We will need to see additional support from the government for small businesses and entrepreneurs creating and releasing music, as well as a healthy, open market to continue to develop great new music.”
What was your track of 2025?
“Man from neo-soul act MRCY, released by Dead Oceans. Is it soul? Is it jazz? Either way it’s joyous.”
And your favourite album?
“Product, posthumously released for Sophie by her collaborator and brother, Benny Long, working with Transgressive Records.”
CHLÖE CATHY
RUNCIMAN EarthPercent
ROBERTS Young
What was your favourite thing about the music
You won a Women In Music Award for your work with EarthPercent earlier this year. How has sustainability in music moved forward? “There has been loads of progress. Massive Attack’s pioneering super-low carbon festival [in 2024] offered an exciting blueprint. LIVE and Live Green announced a partnership with Ecotricity Business and A Greener Future, a landmark initiative alongside the Music Venue Trust. The Live Events Energy Scheme [LEES] gives
venues and promoters a simple, impactful way to cut emissions by switching to 100% green energy. Watch out, too, for the Show Must Go On #3 report from Vision For Sustainable Events, which offers an important climate transition plan for the UK’s live events sector. Elsewhere, the Coldplay and Billie Eilish tours offered exciting examples of what reducing harms, combined with pro-environmental advocacy and campaigning, can achieve, while vinyl’s fossil fuels-free materials future continues to develop at an exciting pace.”
What took you by surprise the most in the industry this year? “Though the focus is around AI, it’s refreshing to see the industry eager for tangibility, experience and community. Driving the conception and execution of the London RCA pop-up shop this year is testament to that.”
What was your track of 2025? “Never Enough by Turnstile. It’s intentional and pure.”
And your favourite album?
“We’ve released some artist gems this year: Sleep Token (below), Blood Orange, Jade, Cat Burns, Miley Cyrus and Rosalía. They all shifted culture in some way!”
PHOTOS: Carsten Windhorst & Gerard Hynes, Caroline Workman, Tim Soter, A Ford
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