BEN MORTIMER Polydor Label Group
What can the industry learn from the success Polydor Label Group has had in terms of artist development throughout this year?
“Patience. If you’ve got someone brilliant [be patient]. All of the best artists are a bit flawed, you know? And we have to appreciate that and give them the time and space to be like that and not let it break them. If an artist is having a bit of a tough time at a certain moment, it’s about saying, ‘That’s okay, give them a moment.’ It’s really about asking, ‘Are they working with an interesting person?’ not necessarily just chasing the hit.”
What was your track of 2025?
Sam’s town: Sam Fender and his bandmates celebrate winning the Mercury Prize in Newcastle and (facing page) Rosalía
ANDY VARLEY Insanity
Tom Grennan had big success in 2025 – what does that say about Insanity? “It is the perfect example of our artist development. We’ve worked with Tom for nine years, backing him on four album campaigns – creatively, commercially and personally. This year, he celebrated his third consecutive No.1 album and a sold-out UK arena tour, which didn’t happen overnight. It’s the result of long-term commitment and a proper partnership between artist, management and label team. We commit to artists early, and build careers with longevity. Tom’s journey shows what happens when you nurture artists properly.”
What kept you awake at night in 2025? “The pace of change in streaming and what that means for breaking artists. The landscape has never been more fragmented, attention is spread across countless platforms and algorithms, and audience behaviour is increasingly unpredictable. Trying to cut through that noise is more complex than ever. It’s not just about a great song; it’s about timing, culture, data, community and a level of creative consistency that can feel relentless for artists. The challenge is finding the balance between reacting quickly and maintaining a long-term, artist-first mindset.”
Can you tell us your track of 2025?
“Pussy Palace by Lily Allen. She leans fully into humour, vulnerability and provocation in a way only Lily can.”
And how about your favourite album?
“Rosalía’s Lux. She’s one of the most innovative artists of her generation.”
musicweek.com
“White Horses by Wolf Alice. I love the blend of the two different voices [Ellie Rowsell and Joel Amey] and I just can’t stop playing it!”
And how about your favourite album?
“People Watching by Sam Fender. Yes, I’m obviously biased but it’s a classic.”
CARLA MARIE
CÉCILE
WILLIAMS Songwriter/
Girls I Rate
Songwriters’ rights were in the news a lot this year – to what extent are you happy with what’s changed in 2025? “I’ve attended some great camps this year. The Ivors and YouTube camp at the Qube was outstanding: they gave us per diems, provided great food and everything was very well organised. Jin Jin hosted a camp, which was super-productive, hospitable and had great energy. I also hosted a Girls I Rate Future Hitmaker Residency with PRS Foundation, where all participants were paid a ‘time to create fee’. Steps are definitely being taken, but I feel there is work to do to create safe and equitable spaces for women creatives, while ensuring songwriters are being properly compensated and credited.”
And in terms of your campaigning work, how was 2025 for Girls I Rate? “I feel we’re in the reproduction stages! It’s our 10-year anniversary next March, it’s all about new adventures, and pushing the conversation for us in levelling the playing field for women.”
What was your track of 2025? “Kehlani’s Folded. It’s most women’s truth! Absolutely love it!”
RAP-VEBER SACEM
Can you tell us what has pleased you most about
the music business this year? “Seeing more women, especially from the younger generation, truly breaking through. It’s inspiring to witness fresh voices gaining recognition and making an impact. I’ve also noticed a wider diversity in musical genres compared to previous years, which makes the landscape feel more vibrant and dynamic. Also, there’s been a notable rise in worldwide tours by French artists. Take Air, for example: they demonstrate beautifully that when music is exceptional, it transcends borders and speaks to audiences everywhere.”
What could the UK industry learn from its French counterpart in 2025? “In reality, we’re facing very similar challenges. Our leaders have yet to step up to protect creators from the pressures of generative AI and unfair competition. Until that happens, we’re all navigating the same uncertain waters.”
What was your track and album of 2025? “The Fate Of Ophelia by Taylor Swift. I love the pure joy that radiates from it. The collaboration between Taylor Swift, Max Martin and Shellback is flawless. My album is Mon Sang by Clara Luciani. A heartfelt ode to the birth of her son and to the idea of passing on memories, love, or life lessons.”
Music Week | 35
PHOTOS: Paul Harries, Calvin Ceile, Carsten Windhorst, Gerard Hynes, Joe Magowan, JM Enternational
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