MARC ROBINSON Universal Music Globe & Globe Originals
After K-Pop Demon Hunters, do you anticipate we’ll see more original chart hits coming from TV animation? “Whether animation or not, it shows how the music and film zeitgeist moments can have global impact and make the music travel to audiences at a speed we have not seen before. Here’s to many more!”
Lewis Capaldi returned this year, what’s he like to work with on sync and partnerships? “He’s such an incredible character, so you want to listen and hang out with him. There’s a great team around him to work with. It’s all about everyone coming together to really execute the best version of events because we’re competing with not just other music now, we’re competing with everything.”
What was your track of 2025? “Florence + The Machine’s Everybody Scream. Florence and The Maccabees’ performance together at Glastonbury was the live highlight of 2025!”
And your favourite album?
“Dave’s The Boy Who Played The Harp, Sam Fender’s People Watching and Olivia Dean’s The Art Of Loving – with nods to Self Esteem, Fontaines DC and Michael Kiwanuka.”
DARI
SAMUELS BBC Radio 1Xtra
Earlier this year you spoke to Music Week about the
need for 1Xtra to evolve with the times – how did the station change this year? “I’m proud that this year 1Xtra has found effective new ways of bringing artist fanbases together to champion everything from key music releases, like 1Xtra’s Album Launch Parties with AJ Tracey and Tiwa Savage, and the Dave Album Listening Party, to stunning festival performances by international superstars, like the 1Xtra Salutes... Headliners’ week. And we continued to celebrate Black music’s rich heritage with 1Xtra’s Throwbacks Weekender. Throughout the year, we also enhanced our on-the-ground coverage of cultural events including Notting Hill Carnival, The MOBO Awards and City Splash Festival.”
Which Black music success story impressed you most this year?
“Dave’s The Boy Who Played The Harp becoming his third album in a row to debut at No.1 in the UK charts.”
What was your track of 2025? “Donae’O feat. Omar, Lemar & The House Gospel Choir – Nights Like This. It’s a joyful song with a retro twist and I’ve had it playing on repeat for weeks.”
And your favourite album?
“Little Simz’s Lotus. This deeply personal album was brave and refreshingly honest.”
musicweek.com
JULIE WEIR Music For Nations
There was more
mainstream success for heavy music in 2025, what do you put that down to?
“In the times we are inhabiting, the heavy music world offers an exceptionally friendly and open safe space – and one with storytelling, escapism and community. A sense of belonging… Add in a lot of shows being on an experiential level now, such as Bring Me The Horizon’s amazing immersive production and Sleep Token’s myth building of their own universe, and there is something here more than music alone. It has its own culture and lifestyle, and leans into world building. This can be sustained by continuing to provide safe spaces and grow a sense of community. Storytelling narratives can also be expanded – not to mention the cultural capital and IP around them.”
What was your track of 2025? “Witch Club Satan – You Wildflower. I saw the band at Roadburn and have since seen them a few times now; I am blown away by their creativity, fearlessness and overall powerful aesthetic. They are truly a force to be reckoned with.”
And your favourite album?
“Maruja – Pain To Power. A smart yet simple album – deep sounds and feeling, but with positive messaging about peaceful protest and people coming together. The band are a complete breath of fresh air, both on record and live.”
TRENTON
HARRISON-LEWIS ADA
In terms of the UK market, what stood out to you this year?
“I was very excited by the emergence of so many compelling new artists in the UK rap space this year.”
And what has 2025 taught you? “As the business continues to rapidly evolve, artists must do more than just produce great music. Those not getting deeply involved with every aspect of their career are putting themselves at a disadvantage compared to those who embrace the business side.”
What was your track of 2025?
“Skye Newman’s My Addiction. The song is a reflection of her personal story, and I felt it had the potential to resonate with many young women in similar positions. Honest storytelling is the sign of a real artist.”
And your favourite album?
“Central Cee’s Can’t Rush Greatness. Cench always tells it as it is – that authentic approach is just how he operates, and that is exactly how a real artist should be.”
ANDREA CZAPARY
MARTIN PRS For Music
Collections from the video game sector surged in the previous year – what’s your expectation about further growth in this area? “Great soundtracks are essential to the immersive power of gameplay. This is also a crucial revenue stream that we’re unlocking for PRS members, and we predict landmark royalty collections from this sector in the coming years. Beyond the US, music licensing in video games is something unique to PRS, and as music in gaming continues to evolve, we are staying ahead of the curve by engaging with composers who specialise in scoring for video games and agreeing new licensing models with key players in the market.”
How are UK songwriters performing globally – is that driving your growth in international collections?
“In the last decade, royalties from overseas have increased by 80%. Songs written by UK music creators are loved the world over – from Americana to bhangra and reggaeton, to writing for K-Pop and Eurovision artists, PRS writers are credited on some of the globe’s most successful songs.”
What was your track of 2025?
“Survive by Lewis Capaldi. To hear the song for the first time at Glastonbury alongside an audience of 100,000, and still seeing the words emotionally connect to every person for different reasons, was really inspiring.”
And your favourite album?
“Sam Fender’s People Watching. His Mercury Prize win also highlighted the importance and impact of funding, with seven of the last eight winners receiving PRS Foundation support over their career journeys.”
Music Week | 43
PHOTOS: Tim Soter, Dave Benett, Kdb, Louise Haywood-Schiefer, Carsten Windhorst & Gerard Hynes
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100
