GLOBAL MUSIC REPORT 2023 - STATE OF THE INDUSTRY
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GLOBAL
MUSIC
REPORT
2023
→ STATE OF THE INDUSTRY
2 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 3
In an ever
developing and
rapidly changing
music market, we
offer our artists a
Whilst we continue
to bring high
quality content
into the world from
hugely innovative
CONTENTS
tailor-made service creators, we
to fit their unique needs. We continue must all recognise that the worth
to push hard to achieve the success and importance of this creativity can
Global Music Market 2022 in Numbers 4
our artists deserve whilst giving them be diminished if we don’t proactively
the space and resources they need to maintain that value everywhere
Introduction by Frances Moore 5
make great music!” consumers experience content. The
recording industry represents the
Global Charts 2022 6
Konrad von Löhneysen
Managing Director, Embassy of Music music that drives the growth and Global Market Overview 2022 10
success of many other businesses, so
we must be vigilant against any race to Figures by Format 2022 12
To succeed, music’s the bottom offered up to consumers.
future must be With new chapters on the horizon
Figures by Region 2022 14
such as the Metaverse and AI, we will
artist-centric. As we
enter our industry’s continue to protect our creators as we
The Constantly Evolving Partnerships Between Artists and Record Labels 16
next exciting navigate a new complex rights model.” Driving Long-term Creative and Commercial Success 18
chapter, we must
remain focused on our shared goal: a Rob Stringer CBE
Chairman, Sony Music Group
A&R: Discovering and Developing Artists and Their Music in 2023 22
robust, growing and sustainable music
ecosystem. This is an environment
Case Study – Sam Ryder 24
in which great music is not drowned
out by an ocean of noise, where music Music thrives at
Artist Wellbeing 26
is easily and clearly accessible for
fans to discover and enjoy, and an
the intersection of Discovering New Opportunities for Artists and Their Music 28
culture, technology,
environment in which the creators of and commerce. Case Study – Steve Lacy 34
all music content–whether in the form It’s the single most
of audio or short-form video—are fairly influential global
Artificial Intelligence: Defining its Place in Music 36
compensated and can therefore thrive art form, with an unmatched ability
for decades to come.” to attract audiences, drive social
Local Cultures Driving Music’s Global Growth 38
Sir Lucian Grainge
Chairman & Chief Executive Officer,
interaction, transcend borders, and
unite people. Despite this power,
Case Study - Noga Erez 42
Universal Music Group
it’s still undervalued compared to The Global Strength of Local Repertoire 44
other forms of entertainment. We're
excited to unlock the industry’s next Case Study – Fujii Kaze 48
phase of growth by championing
extraordinary artists and songwriters,
Securing A Framework for Long-Term, Sustainable Growth Across the Music Ecosystem 50
building long-term careers and loyal
fan communities, while developing
Photo credits 52
innovative business models and high
impact tech products. Our future is a
© IFPI 2023
whole universe of opportunity." All data, copy and images are subject to copyright and may
not be reproduced, transmitted or made available without
IFPI.ORG permission from IFPI. Use of this report, IFPI Global Music
Robert Kyncl @IFPI_ORG Report (2023 edition) is governed by Global Music Report
Chief Executive Officer, Warner Music Group Terms of Use (gmr.ifpi.org/terms-of-use) and Global Music
DESIGNED BY DATA DESIGN Report Content Usage Rules (gmr.ifpi.org/content-usage).
4 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 5
GLOBAL
MUSIC
+9.0% GLOBAL REVENUE GROWTH
INTRODUCTION
THIS REPORT RELAYS THE STORY OF
TODAY’S CONSTANTLY GROWING AND
MARKET 8 TH EVOLVING MUSIC WORLD.
2022 IN NUMBERS CONSECUTIVE YEAR OF GROWTH
Today we have an incredible, kaleidoscopic array
of music coming from a diverse group of artists
US$26.2BN
across the globe.
Music continues to grow globally, This has created new and diverse
and artists are increasingly opportunities for artists to connect
interconnected with fans as a result with their fans; from harnessing
of the worldwide infrastructure and cutting edge technology – ranging FRANCES MOORE
Chief Executive, IFPI
investment from record companies. from creating immersive music
VALUE OF GLOBAL RECORDED Alongside this, record companies
experiences to enhancing health
and fitness activities – to reimagining
MUSIC REVENUES are building and developing local opportunities to tell artist stories
teams around the world who are on through films, TV and brand
the ground, working with current partnerships and much more.
and emerging artists from a growing
67.0%
variety of music scenes. This is However, as the opportunities for
driving music’s development whilst music continue to expand, so too do
enabling fans to seize the expanding the areas in which record companies
opportunities to embrace and must work to ensure that the value
celebrate their own local artists and of the music artists are creating
culture. is recognised and returned. This
challenge is becoming increasingly
The core of a record company’s complex as a greater number of
OVERALL STREAMING SHARE mission remains partnering with actors seek to benefit from music
OF GLOBAL REVENUE artists to help them achieve their whilst playing no part in investing in
greatest creative and commercial and developing it.
potential. Today, that partnership
has expanded into more areas and Ultimately, however, the story of
10.3%
more parts of the world as record this report is one of innovation and
companies increase their focus on growth and, above all else, great
innovation. artists and their music.
GROWTH IN SUBSCRIPTION
AUDIO STREAM REVENUE
Sam Smith photo by Michael Bailey Gates
6 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 7
GLOBAL
CHARTS
MOST POPULAR ARTISTS & 02 03
BEST SELLERS OF 2022
BTS
04
Drake
TOP 10 GLOBAL RECORDING ARTIST CHART 2022
Bad Bunny
01 05
The Weeknd
06
SEVENTEEN
07
Stray Kids
08 09
Taylor Swift
Harry Styles
10
Jay Chou
Ed Sheeran
The IFPI Global Recording Artist Chart measures consumption across all formats (including
streaming formats, digital and physical albums, and single sales) and all countries in a calendar
year. It is weighted based on the relative value of each method of consumption.
8 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 9
GLOBAL TOP 10 GLOBAL TOP 10
SINGLES CHART 2022 ALBUMS CHART 2022
GLOBAL SUBSCRIPTION GLOBAL SUBSCRIPTION
STREAMS EQUIVALENT STREAMS EQUIVALENT
01 06 01 06
IMAGINE DRAGONS
HARRY STYLES & JID BAD BUNNY STRAY KIDS
AS IT WAS 2.28BN ENEMY 1.26BN UN VERANO SIN TI MAXIDENT
02 07 02 07
GLASS ANIMALS ED SHEERAN TAYLOR SWIFT SEVENTEEN
HEAT WAVES 1.75BN SHIVERS 1.23BN MIDNIGHTS FACE THE SUN
03 08 03 08
THE KID LAROI &
JUSTIN BIEBER GAYLE HARRY STYLES BLACKPINK
STAY 1.74BN ABCDEFU 1.22BN HARRY'S HOUSE BORN PINK
04 09 04 09
ELTON JOHN &
DUA LIPA BAD BUNNY &
COLD HEART CHENCHO CORLEONE BTS OLIVIA RODRIGO
(PNAU REMIX) 1.34BN ME PORTO BONITO 1.21BN PROOF SOUR
05 10 05 10
THE WEEKND ED SHEERAN ENCANTO CAST ED SHEERAN
SAVE YOUR TEARS 1.32BN BAD HABITS 1.20BN ENCANTO OST =
The IFPI Global Album Chart takes into account all consumption formats, spanning physical sales, digital
The IFPI Global Single Chart measures digital format singles across a calendar year, including paid subscription downloads, and streaming platforms across a calendar year. It is weighted based on the relative value of each
streaming, ad-supported platforms, and single-track downloads and streams. Source: IFPI method of consumption. For the full Top 20 Global Artists, Singles and Albums please see www.ifpi.org Source: IFPI
10 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 11
GLOBAL MARKET
GLOBAL RECORDED MUSIC INDUSTRY REVENUES 1999 - 2022 (US$ BILLIONS)
30
30
0.6
OVERVIEW 2022
0.6
25
25 0.5 2.5
0.5 2.5
2.3 0.9
0.6 2.3 0.9
0.6 0.4 1.1
20 0.7 0.4 1.1
20 0.7 0.5
0.7 0.8 0.5 2.2
0.7 0.3
0.8 0.8 0.5 2.2
0.3 0.8
1.0 0.9 2.4
0.1 0.9 0.5 1.2
1.0 1.9 1.1 0.4 2.4 1.2
THE GROWTH OF THE GLOBAL INDUSTRY CONTINUES
0.1 1.1 2.5
1.9
0.1 0.3 0.4 1.4
15 1.1 2.5 1.4
0.1 2.6 1.1 0.3 2.2
15
2.6 1.2 0.3 0.3 0.3 0.3 0.3 2.2 1.6
0.2 1.2 0.3 0.3 0.3 0.3 0.3 0.3 2.1 1.6 17.5
3.2 1.3 1.3 1.4 0.3 2.1
0.2 3.2 1.3 1.3 1.4
1.6
1.7 1.8 2.5 15.7 17.5
3.5 1.6 1.8 2.5 15.7
22.3 0.3 3.5 1.7 3.1
21.6
22.3 21.0 21.6 0.3 3.7
10 21.0 20.1 4.1 4.2 3.1 12.7
0.4 3.7 4.1 4.1 3.6 10.7 12.7
10 20.1 18.5 18.0 0.4 4.2 3.9 3.6
18.5 18.0 16.8 0.4 4.1 3.9 8.8 10.7
Rising to US$26.2 billion, the global recorded streaming) digital seeing a decline. Subscription streaming 16.8 15.2
15.2 13.1
0.4 0.6
0.6 0.9
1.3 4.4
6.2
6.2
8.8
0.9 1.8 2.7 4.4
music market grew by 9.0% in 2022. was the leading driver of growth (+10.3% to US$12.7 billion). 13.1 11.0 1.3
1.8 2.7
5 11.0 9.6
Overall streaming (including subscription and advertising- 5 9.6 8.2
8.2 7.5 6.9
Revenues increased in every region and in each of the world’s supported), accounted for the highest proportion of the 7.5 6.9 6.1 5.4 5.2
6.1 5.0 4.7 4.2 4.4 4.6
top 10 markets, with China moving into the top five for the market, increasing to a 67.0% share of the overall market 5.4 5.2 5.0 4.7 3.9 3.8 4.6
4.2 3.9 3.8 4.4
first time ever and Brazil re-entering the top 10. Growth came in 2022 up from a 65.5% share the prior year. 0
0
from a wide range of revenue sources: once again there was a 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022
1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022
rise in revenues from streaming, physical, performance rights
22.3 21.0 22.1 20.7 19.2 19.2 18.7 18.1 16.9 15.7 14.6 13.8 13.8 13.8 13.5 13.1 13.6 14.8 15.9 17.5 18.9 20.3 24.0 26.2
and synchronisation, with only downloads and other (non- 22.3 21.0 22.1 20.7 19.2 19.2 18.7 18.1 16.9 15.7 14.6 13.8 US$
TOTAL REVENUE 13.8BILLIONS
13.8 13.5 13.1 13.6 14.8 15.9 17.5 18.9 20.3 24.0 26.2
TOTAL REVENUE US$ BILLIONS
BTS photo by BIGHIT MUSIC
Total Physical Total Streaming Downloads & Other Digital Performance Rights Synchronisation
Total Physical Total Streaming Downloads & Other Digital Performance Rights Synchronisation
GLOBAL RECORDED MUSIC REVENUES BY SEGMENT 2022
TOP 10 MUSIC MARKETS IN 2022
2.4%
01 USA Synchronisation
02 67.0%
9.4%
+9.0%
JAPAN
Total Streaming
03 UK
Performance
Rights
18.7%
GLOBAL RECORDED MUSIC 04 GERMANY
17.5%
MARKET GROWTH Ad-supported
05 CHINA
streams
+11.5%
Physical
06
48.3%
FRANCE
GROWTH IN OVERALL
STREAMING REVENUES
07 SOUTH KOREA 3.6% Subscription
08 Downloads & audio streams
589m
CANADA Other Digital
09 BRAZIL
USERS OF PAID SUBSCRIPTION
ACCOUNTS 10 AUSTRALIA
12 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 13
FIGURES BY STREAMING
+11.5%
FORMAT 2022
In 2022 there were revenue gains across nearly all format
categories, with streaming continuing to dominate the global PHYSICAL
+4.0%
Global revenues from streaming continued to
increase in 2022, seeing double-digit growth (+11.5%)
and reaching US$17.5 billion. Although this was a slower
rate of growth than the prior year (+23.9%), there was
a varied picture across the globe with some regions
posting big climbs in streaming revenues. Revenues from
subscription streaming grew by 10.3% globally, reaching
US$12.7 billion in 2022.
revenue mix. Whilst growth rates across all formats were lower Physical format revenues – including CDs, vinyl
than the prior year – with the exceptional growth in 2021 partly and other physical formats – increased for a second
attributable to a post-pandemic boost – there were double-digit year running, albeit not matching the prior year’s
growth (+16.1%) which had been stimulated by a post-
gains in streaming and resilience in the physical market.
-11.7%
pandemic resurgence. Growth of 4.0% equated to
US$4.6 billion in revenues, taking physical to a 17.5% share
of the overall market. Within this, revenues from CD and
other physical revenues saw a slight decline (-0.4%) whilst
vinyl’s upward trajectory – sustained for more than a
decade - continued with growth of 17.1% in 2022. Physical
saw its strongest performance in Asia once again, with DOWNLOADS & OTHER DIGITAL
that region accounting for almost half the global revenues
for physical (49.8%). In an expected trajectory, downloads and other
(non-streaming) digital – representing just 3.6% of
the overall market - was once again the only format
category to experience decline in 2022, as streaming
continued to increase its foothold as the dominant
digital format. Within this, revenues from permanent
+8.6%
downloads fell by 19.6% to US$644.4 million whereas
other non-streaming digital formats, including mobile
personalisation grew by 12.2%.
PERFORMANCE RIGHTS
Revenues from performance rights – the use of
+22.3%
recorded music by broadcasters and public venues
– grew by 8.6%. Reaching US$2.5 billion in 2022, the
revenues surpassed their pre-pandemic levels in 2022
and made up 9.4% of the global market.
SYNCHRONISATION
Accounting for 2.4% of the market in 2022,
synchronisation – revenues from the use of recorded
music in advertising, film, games and TV – maintained
strong increases, posting another year of growth
exceeding 20% and reaching US$640.4 million.
Harry Styles photo by Lillie Eiger
14 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 15
FIGURES EUROPE
The world’s second largest region for recorded
music revenues saw growth of 7.5% in 2022. UK,
ASIA
Asia experienced double-digit growth for the
BY REGION MIDDLE EAST & NORTH AFRICA
Germany and France remained the three largest third consecutive year, up by 15.4% and outpacing
markets in Europe, all posting growth (+5.4%, +2.2% the overall global growth rate.
and +7.7% respectively). Posting the world’s third highest growth rate in
2022, Middle East & North Africa saw revenues from Japan, the region’s largest market saw a second year
Europe’s revenues from streaming accounted for more recorded music climb by 23.8%. of consecutive growth (+5.4%) whilst the region’s
2022
than a quarter of revenues from the format globally second largest market – China – saw a significant
(26.0% share) and also accounted for the highest Streaming accounted for the vast majority of rise of 28.4% pushing it into the top five markets
proportion of revenues from performance rights the market, with those revenues accounting globally for the first time. Overall revenues from Asia
(54.9% of global performance rights revenues). for a 95.5% share. accounted for 22.9% of the global market.
Once again, the recorded music market saw
growth in every region across the globe in
2022. Four regions posted double-digit gains,
+7.5%
outpacing the overall growth rate of 9.0% and
Sub-Saharan Africa overtook Middle East and
North Africa as the fastest growing area.
+5.0%
+23.8% +15.4%
USA & CANADA
+34.7%
Maintaining its foothold as the world’s largest
region for recorded music, revenues in the
+25.9%
USA and Canada increased by 5.0% in 2022; a
slower rate than the prior year (+21.8%) when
+8.1%
exceptional market growth had been partially
driven by a post-pandemic boost.
Both USA (+4.8% in 2022) and Canada (+8.1%)
remained global top 10 markets, with USA the
single biggest national market in the world,
exceeding US$10 billion for the first time. Overall
the USA & Canada region represented 41.6% of
SUB SAHARAN AFRICA AUSTRALASIA
the global market.
With a steep increase of 34.7%, and the only region In Australasia, Australia – remaining a top 10
LATIN AMERICA
to see more than 30% growth, Sub-Saharan Africa market – experienced growth of 8.1%, driven
became the fastest growing region for recorded music largely by streaming. Similarly New Zealand saw
Revenues in Latin America rose by 25.9% revenues in 2022. recorded music revenues increase by 8.0%.
continuing a decade-plus trajectory of growth.
Growth was boosted by a strong climb in revenues in Overall, recorded music revenues in the Australasia
Every market saw double-digit growth, including the region’s South Africa, the region’s largest market (+31.4% versus a region rose by 8.1%, an increase on the prior year’s
two largest markets, Brazil (+15.4%) and Mexico (up steeply modest 2.4% growth the prior year). growth rate of 4.7%.
by 24.3%). Once again, streaming revenues dominated,
accounting for 85.2% of the Latin American market.
NERSHIPS
16 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY
THE CONSTANTLY
IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 17
TNERSHIPS
BLACKPINK photo by Jungwook Mok
EVOLVING PARTNERSHIPS
BETWEEN ARTISTS AND
TNERSHIPS
RECORD LABELS
At its core, a record company continues
RTNERSHIPS
to be focused on partnering with
artists to find creative and commercial
success. Today, that partnership has
expanded into more areas and more
parts of the world; creating more
opportunities to reach and connect
with an increasingly diverse fanbase.
Dennis Kooker, President, Global approaches, giving autonomy to artist development and moving
ARTNERSHIPS
Referencing the likes of Aya Nakamura’s Francophone- Digital Business at Sony Music operators, fostering healthy internal culture forward are the priority—not
first collaboration with Fortnite and Spinnin’ Records Entertainment, says that in order competition because at the end of those who are solely in this to seize
creating NFTs with LGND.io, Simon Robson, President, to do this, record companies must the day, we are a collection of labels financial opportunities in a growing
International, Recorded Music, Warner Music Group simultaneously serve the immediate all founded by entrepreneurs who market. Where were those people
explains, “Music is integral to so many different elements needs of artists whilst building believe—in the face of tremendous when the industry was in decline and
of our lives and not just through the ‘traditional’ streaming towards what they will require next. challenges—that an artist they needed help? We were here, and we
services; you have social media, health and fitness, gaming “Priority number one is executing on discover could change the world.” were investing all through the difficult
and Web3 opportunities and much more. We are constantly what’s happening today for our artists years.”
trying to develop these opportunities for our artists.” – identifying where the opportunities “That spirit is very much alive within
are and what needs to be done UMG. We have a culture that prizes
now. We’re also in a business that that philosophy and renews that
ARTNERSHIPS
continues to evolve in material behaviour regularly.”
ways, so we have significant
dedicated resources that are However, Tanous goes on to warn
focused towards the future. that as the opportunities continue to
It's hugely important for the grow in the music ecosystem, it has
We help extraordinary
sake of our artists and their ongoing become more important than ever talent cut through
success that we effectively over- to ensure value is returning to those the background noise
deliver for them in both these areas, committed to investing in, creating
and that we invest for the future and developing artistry and music.
in our short-span
before it happens.” attention economy,
“Everybody I work with got into this enabling them to truly
Will Tanous, EVP & Chief business because working with artists
Administrative Officer, Universal and music is not merely a job, it’s a
connect with fans and
Music Group, feels it is the calling. There are a lot of new and so unlock a universe of
entrepreneurial spirit at the heart different players in the ecosystem opportunities.”
of record companies that drives now that the industry has returned
MAX LOUSADA
the increasing opportunities to growth. We need to make sure the
CEO, Recorded Music,
for artists. “The things we prize people who are setting the agenda Warner Music Group
are innovation, taking diverse for music are the people for whom
Jay Chou photo courtesy of JVR
18 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 19
DRIVING LONG-TERM CREATIVE We are a collection of labels all founded by entrepreneurs
who believe - in the face of tremendous challenges - that
AND COMMERCIAL SUCCESS
an artist they discover could change the world.”
WILL TANOUS
EVP & Chief Administrative Officer, Universal Music Group
On the ground, record labels are building
teams of skilled executives who can support MARKETING
and enhance an artist’s creative vision, whilst UPFRONT A&R Influencer campaigns
INVESTMENT BUSINESS CREATIVE Digital ARTIST BRAND
also understanding the consumer market that DEVELOPMENT (social media, ads)
OPPORTUNITIES
Advance
payment AFFAIRS Session organisation DEVELOPMENT SERVICES Physical
surrounds each project. Financial Licensing Song writing Photoshoots (posters, billboards) Sync opportunities
development Styling Audience analysis Brand partnerships
transparency agreements
Video creation CRM development Merchandise
Content
protection Social media New technologies
development (gaming, web3)
ARTIST PARTNERSHIP CREATIVE DEVELOPMENT COMMERCIAL SUCCESS
PROMOTION
ARTIST WELFARE RECORDING TV
PROGRAMME GLOBAL Studio access
GLOBAL Radio
Portal access Production In-store
Real time access INTER-CONNECTIVITY Mixing DISTRIBUTION performances
Cross-cultural Mastering Licensed DSPs Podcasts
Legal support
collaborations Merchandise Streaming
Audience analysis CDs and vinyl
These executives vary from our short-span attention economy, From a global perspective, the world “We’ve got to constantly think beyond
marketing professionals, data enabling them to truly connect with for artists now is connected in a our limits and beyond any traditional
scientists, promotion teams and fans and so unlock a universe of way that it hasn’t been previously. barriers or parameters for each and
beyond – all of whom are trained opportunities.” Record labels, therefore, must work every artist.”
in understanding each artist’s own harder than ever to connect different
unique vision and how to bring that Marie-Anne Robert, Managing teams in different regions – sharing The ways that artists can partner with
vision to a global audience. Director, Sony Music France, agrees, information, best practice and ideas record companies also continues to
explaining that having a label team around how to break artists and build evolve, with more flexibility being
Max Lousada, CEO, Recorded Music, that is able to adapt to new challenges long term audiences in every corner factored into each partnership,
Warner Music Group, outlines, is vital in today’s highly competitive of the globe. tailored around each artist’s unique
“Record labels constantly deliver market. “It's extremely hard to break needs and requirements.
impact and add value to artists new artists and develop new talent In terms of connecting these dots,
in a fast-changing market. in a global music market where Melissa Thomas, Executive Vice
That’s not just about numerous tracks are uploaded every President, International Marketing,
sparking imagination, day and competing for people’s U.S. Repertoire, Sony Music
curiosity or excitement attention becomes ever more Entertainment, explains, “Today, a
in fans, but also challenging. That’s why we’ve put music fan’s attention is being pulled
providing the strategic tremendous effort into getting the in so many different directions,
advice artists need to best team on board to manage each wherever they are in the world. To
sustain success over project – this team can then adapt cut through that, we have to figure
the long-term. We more effectively to an artists’ needs, out a way to bring our artists into
help extraordinary put an emphasis on developing the that local conversation and help tell
talent cut through the right story around the artist and help their stories in an authentic and
background noise in foster their creativity.” compelling way.
Dave photo by Andrew Timms20 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 21
We’ve got to constantly
think beyond our
limits and beyond any
traditional barriers or
parameters for each and
every artist.”
MELISSA THOMAS
Executive Vice President,
International Marketing,
U.S. Repertoire,
Sony Music Entertainment
SEVENTEEN photo courtesy of HYBE
FKA Twigs photo courtesy of Atlantic Records
Vanessa Bosåen, President, Virgin “So, if you are an independent artist “When you start answering all those
Music Label & Artist Services, offers you can partner with Virgin, and questions, it becomes clear that
a slightly different package of support together we can keep that completely there are not that many places that
from a ‘traditional’ label. At Virgin, independent feel, but you will have can offer all those resources to an
artists tend to come with music ready access to all of our services and plug artist. It's most likely a company
to be launched and looking to buy the into our global network. We have that has invested heavily in building
expertise and experience of her team access to sync and brand briefs via an infrastructure designed to
to help distribute and market it to Universal’s in-house team – Globe –to support artists, a company that
fans: “Artists will come to us with their the world's best merch system, to the has recruited and trained best-in-
music that is ready, but they need D2C network: all that infrastructure class teams in every department
the services to take that music and that you wouldn't have had access to from data scientists to A&R to global
promote it to the world. That's what before.” marketing.”
we can provide at an outstandingly
high standard: a network of all of Tanous returns to the subject of the
the independent music capabilities vital role a record label performs
from Universal Music across all of its today. “You can reduce it to the
business units and regions. fundamentals: does an artist need
a team to succeed? Most people
“If you're an artist that knows what you would say, ‘Yes’. What does the team
want to do with your campaign, you look like? Does it have people who
know who you are as an artist, but you understand music? Does it have
still can't cover all the ground yourself people who understand the creative
– you come to us. It’s just too much process? Does it have people who We’ve put tremendous
for any single individual. You can't be understand the platforms? Does the
your own promotion and marketer, team also have the ability to create effort into getting the
radio and TV plugger - you can't be and execute a marketing plan for you, best team on board to
everything all at once – especially if not just in your region, but globally? manage each project.”
you want to do it everywhere all at
MARIE-ANNE ROBERT
once."
Managing Director,
Sony Music France Tom Odell photo by Rory Langdon Down22 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 23
A&R: DISCOVERING AND
Jean-Sebastien Permal, VP for “I think that in the second that
A&R, Continental Europe and you consider signing an artist, you
DEVELOPING ARTISTS AND
Africa, Sony Music Entertainment, should know the road to finding their
discusses artist development as audience.”
the ultimate partnership between
record company and artist – and also “THE REALITY IS, WE HAD TO
THEIR MUSIC IN 2023
stresses the pervasive importance DO THE SAME JOB AS WE DO
of long-term thinking. He says: “A WITH EVERY ARTIST, WHICH IS
successful artist and A&R relationship THE JOB WE’RE HERE TO DO:
DEVELOP THEM, BE PATIENT,
starts with a mutual understanding
THINK LONG-TERM.”
of what we are trying to accomplish
from the get-go. The single biggest shift in A&R has
been in how and where artists are
“That's why we like to have in-depth discovered. In some instances, artists
conversations and ensure we have the can be seen and known around the
same understanding and chemistry world in days based on a single track
with an artist and their teams right at or a short-form video measured in
the start. Because our job is to work seconds rather than minutes.
for the artist, and we can only do that
Angele photo by Manuel Obadia-Wills
when we understand who they are For record companies though, this is
and where they want to go. still the starting point of a much longer
At the core of a record company’s DNA remains artist game. Nick Burgess, Co-President who wants to listen to 15 seconds of a globally to amplify them and take
and repertoire (A&R) – the discovery and development “Once an artist has signed to us, they of Parlophone UK, recounts the story Whitney Houston cover. The journey things to next level.”
entrust us with their career, with of breaking Sam Ryder [see full Case from TikTok to sustained streaming
of artists and their creative vision. The processes, their life goal and our job is to fight Study on page 24]. Sam had blown success is complex and nuanced. Access to these global networks also
platforms and skills involved in A&R continue to evolve for that goal as hard as they do. And up on TikTok, and Burgess says that Huge swathes of fans don’t just jump facilitates artists with the potential to
and expand, albeit with recognisable fundamental to adapt to them, because we are was how he first came to the label’s across from one platform to another. create cross-cultural collaborations.
here to service them, not the other attention. But that wasn’t why he was This in turn can help domestic artists
roots which still show through. way around. We want artists to know signed. “The reality was that we had to do the reach wider global audiences. Bello
that about us, even before they sign.” same job as we do with every artist: continues, “We have a broad network
Rouge photo courtesy of Warner Music South Africa develop them, be patient, think long- of artists, producers and writers
He also outlines the strengths of a term. We had to build Sam’s career around the world to draw from,
record company when faced with and this whole project as organically which helps an artist find the right
the sheer volume of music being and authentically as we would with connections. Our A&R team will work
uploaded daily across streaming I think that in the second any other artist.” with an artist to come up with an idea
platforms. “The need to grasp the that you consider signing to collaborate to help increase their
attention of audiences is incredibly an artist, you should Kabiru Bello, VP, Global A&R, audience and global exposure.
challenging and that’s where the value Warner Music Group, links back to
of a record label comes into play, know the road to finding a wider point about the increasing “Of course, that relationship has
because we help artists cut through their audience.” strength of homegrown talents – and to be authentic, and we approach
that noise using our expertise and all KONRAD VON LÖHNEYSEN how a connected, global company each collaboration case-by-case. A
the tools at our disposal.” Managing Director, can make a difference to an artist or good example of Latin and European
Embassy of Music track with unrivalled speed and scale. music working together is the track
An integral piece of what record Dancarina, a collaboration between
companies offer, in terms of “There’s been a huge shift with local two Latin artists, Anitta and Pedro
discovering and positioning new He says, “We’re not a label that signs music having significant impact in Sampaio, and the French artist Dadju.
artists, is still the experience and TikTok cover version artists. We set domestic markets. It’s something to It was the first collaboration between
expertise of the A&R team. up some studio sessions and we which we pay close attention and French and Brazilian artists that did
signed Sam because we could see share with our A&Rs around the well here and reached the Top 10 in
Konrad von Löhneysen, Managing he had star quality and that he’d built world. As a team, we participate in France and #1 on the French Airplay
Director, Embassy of Music, explains, a connection with his audience, but A&R meetings across the regions chart.”
“That side of what we do as an A&R then you add in the song-writing skill to know what they have and are
department has never changed that became so evident early on, looking for in terms of artists, songs, Permal agrees, “As a company we
when we are discovering new artists. we just thought, this is what we’re collaborations, and this way our A&Rs try to bring our artists together.
Right from the start we have to ask in business to do: sign and develop around the globe stay connected to For example, if one of our German
ourselves – ‘What do you hear in artists like Sam.” build bridges for our artists. or Nigerian artists goes to Paris, we
the music? What do you see in the want them to meet our French artists
artist? What is the special position The pre-existence of a large Tik-Tok “My strategy is to be the global bridge or producers because you never
this will have in the market and who is audience played very little part in for our A&Rs, where I want to keep know what could come out of that
supposed to listen to it? Where can that development, “Someone who them very close and make sure we partnership.”
this artist go?’ loves a song and wants to listen to catch the momentum with ideas,
it 100 times is not the same person to act fast and activate our teams24 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 25
The common perception is that his rise was built around to the people who were actually interested in Sam as an artist.
two things: TikTok and the Eurovision Song Contest (Sam It was a fraction of his TikTok following, but they were true fans.
came second in 2022, with Space Man, losing thanks to an
overwhelming public vote for Ukraine’s winning entry). “The reality was, we couldn’t just convert that audience, we had
to do the same job as we do with every artist, which is the job
Nick Burgess and Mark Mitchell, co-presidents of his record we’re here to do: develop them, be patient, think long-term.”
company, Parlophone, know that the real story is rather
different. Burgess agrees, “We had to build Sam and this whole project as
organically and authentically as we would with any other artist.
Burgess says, “Sam did come to our attention via TikTok. And When the mainstream media did start to engage, they would
I thought, yes, great voice, great personality, interesting artist quite often refer to him as a ‘TikTok sensation’, and that was
proposition, but we’re not a label that signs TikTok cover something we have to fight against rather than encourage. We
version artists.” didn’t want that notion to define or overshadow him.
He saw enough potential, however, to “get him in a studio, see if “And then, out of the blue, we got a call asking if Sam would do
he’s got the writing chops” that would make the difference and Eurovision. My initial reaction was, ‘Hmmm, I don’t know…’ But
seal the deal. Parlophone set up sessions with Amy Wadge and then you look at Måneskin’s success the year before; it can be
Max Wolfgang – and the first track to emerge was Space Man. a jumping off point for a global rock act, so why not? The key
thing is, they wanted Space Man. If it hadn’t been about the
“We signed Sam because we could see he had star quality and song and Sam we’d have said no.
that he’d built a connection with his audience, but then you add
in the song-writing skill that became so evident so early on and “Also, the thing is, we’d sit in meetings and say, ‘We just need
we just thought, this is what we’re in business to do: sign and to get him in people’s living rooms, he’ll take it from there’.
develop artists like Sam.” Because we’d got to know him by then, we
knew what a fantastic personality he had,
The first big decision was to avoid the how likeable he is, how positive he is; we
obvious route of releasing Space Man. knew, given half a chance, the British public
Sam Ryder photo by Edward Cook
Mitchell explains: “There was the possibility would fall in love with him – and they did.”
that it would have caught fire and almost We had to do the same
run away from us, so that the song actually The day after Eurovision, Mitchell recalls,
eclipses the artist, and that’s not ideal
job as we do with every “there was obviously a sense of elation –
when you’re looking at long-term career artist, which is the job the event had been brilliant and Sam had
development.” we’re here to do: develop been as great, but straight away we had
to build on it, carry on the momentum.
Burgess continues, “It helped that Sam was
them, be patient, think We didn’t want Sam to now become ‘the
now writing more really beautiful songs, so long-term.” Eurovision guy’.”
SAM RYDER
we could put a handful of them out first, MARK MITCHELL
↓ CASE STUDY as singles and on EPs, to start building his Co-President, Parlophone Records It was decided an album needed to come
story. We wanted to let people discover out before Christmas, with Burgess working
Sam, his voice, his personality etc. in a more closely alongside Sam and his team to meet
gentle way rather than maybe have one track dominate and the deadline. “We knew he was no one-hit wonder and we
overwhelm him.” wanted to prove it as quickly as possible.
Throughout the process, harnessing and interacting with the “It was a very intense period. Sam is very exact, he doesn’t just
TikTok audience was in the mix, but wasn’t a central pillar. As turn up do his vocal and leave, he’s a proper artist involved in
Burgess says, “Someone who loves a song and wants to listen every step along the way.
to it 100 times is not the same person who wants to listen to 15
seconds of a Whitney Houston cover. The journey from TikTok “And alongside that, everything the label and Sam did together
to sustained streaming success is complex and nuanced. in terms of marketing and promotion really nailed his narrative
Sam Ryder was one of the biggest breakthrough UK Huge swathes of fans don’t jump across from one platform to – because it was authentic, that’s why he’s so amazing at
artists in his domestic market in 2022, scoring a another.” articulating his story, because it’s all Sam. That all helped set the
album up as an important debut from a genuinely interesting
No. 2 single with Space Man and a No. 1 album with Mitchell explains Parlophone’s next steps, “In the background and exciting new British artist.”
There’s Nothing But Space, Man. we set up something called Open Stage - it’s essentially an email
database through which we could start super-serving the most
engaged element of Sam’s TikTok audience. We wanted to talk26 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 27
Selina Webb, EVP, Universal Music “Hopefully, they will go away with a Doreen Schimk, Co-President,
UK, explains, “We are always looking very clear message: if you need any Warner Music Central Europe,
for ways to support our artists and to help or just a chat, anywhere down the agrees with this approach to wellness,
help them be at their creative best. line…it’s completely confidential, it's saying: “At Warner Music Central
separate from the labels and it’s always Europe, we’ve always upheld the
“Every artist that signs to one of our on, always there, if anything comes strong conviction that good mental
labels has the opportunity to check up. Because something will come up, health is paramount for our artists,
in with a counsellor. Maybe they want being an artist, being in the public eye, employees and our community.
to talk about their relationship with especially with the pressure of social For both, we offer comprehensive
social media, or they might need media, it’s a challenge. measures and services.”
some additional support with the
huge pressures which come with just “And there's also specialised advice Fabian Drebes, Co-President,
being an artist - the volume of work, for staff working with artists. Because Warner Music Central Europe,
the intensity of the work, and the they may want some guidance on how explains: “We can rely on our
scrutiny. to provide the best support.” longstanding collaboration with the
renowned mental and corporate
health specialists at the Fürstenberg
Institut, who’ve made coaching,
counselling and support with a holistic
approach available to our employees,
and now also all to our artists – with
exceptional 24/7 access, and services
in 16 different languages.”
Alison Wonderland photo by Simply G
ARTIST WELLBEING
Record companies are increasingly to be an effective partner to our
looking beyond the creative and creative community in the business
commercial opportunities they can as it is today – and in the economic
offer artists to ensure they provide realities of today.” We are always looking for
a more holistic package of support. ways to support our artists
This includes considering an artist’s The initiative also focuses on artist
well-being and mental health. wellness. Moultrie continues, “The
and to help them be at their
goal with our wellness efforts is creative best.”
At Sony Music, this work comes really to ensure that our artists feel, SELINA WEBB
under the umbrella of their Artists as much as possible, that they're in EVP, Universal Music UK
Forward initiative. Susan Moultrie, a position to be at their very best as
SVP of Artist Initiatives and Business they proceed down their creative
Administration, explains, “We're path. As part of this, we provide
constantly looking for ways that we access to counsellors around the
can support our talent throughout world, and they can have sessions
their careers, and as our industry with a licensed therapist, in person or
continues to evolve and grow, so does virtual, depending on their need. The
our work.” program is confidential - we don't
get any details about the calls or the
“Our Artists Forward initiative serves sessions.
as an additional, but vital, component
to the traditional roles of finding, “So if ever one of our creators feels
nurturing and developing talent. that they need to work through
Key areas that it touches on include some personal challenges, there's
earnings enhancements, insight tools someone they can speak to in that
and educational resources. We want moment.”
Paul Partohap photo by Habibie Eka PerdhanaNEWDISCOVERING
28
OPPORTUNITI E S
IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY
NEW
“Another area to consider is health
and wellness. There’s a tremendous
IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 29
NEWOPPORTUNI T IE S
opportunity there. Digital fitness is
really just the tip of the spear.
OPPORTUNITIES
“And our experience has been that
the artists love being engaged in this
area, they’re passionate about it.
Because music effects everyone’s
lives; it makes the world a better
FOR ARTISTS AND TIES
NEWOPPORTUNI
place. The potential to harness music
in this space is incredible, and the
artist community is very invested in
that.
“Finally, there are the new frontiers
of Web3 and the metaverse. These
are longer-term opportunities which
NEWOPPORTUNITIES
THEIR MUSIC
Aimyon photo courtesy of Warner Music Group
are developing over the coming years.
Web3 is going to enable new forms of
digital collectibles, the management ‘ONE OF THE KEY ROLES THAT are a key part of engagement and
and gating of live experiences, the WE CAN PLAY IN SUPPORTING conversations that happen in many
authentication of the super-fan WHAT OUR ARTISTS WANT TO new music experiences, and they’re
relationship; a lot of very interesting DO, IS TO GIVE THEM AS MANY also important drivers of new
OPTIONS AS POSSIBLE’
things are going to happen there.” commerce opportunities for artists.”
Angela Lopes, SVP, Strategy
NEWOPPORTUNITIES
In order to help artists to capitalise & Investments, Sony Music Lopes says that across their strategies
on the growing array of opportunities Entertainment, points out that and investments, record companies
in these new technology categories, record companies are able to identify ultimately provide artists with more
Dennis Kooker, President, Global and support new opportunities choice of partners, services and
Record companies today are increasingly focused on Digital Business, Sony Music for artists through their forward- solutions, plus greater bandwidth to
helping to discover new opportunities for their artists to Entertainment, explains that record looking strategies and investments. create.
connect with their fans. Their music remains at the heart companies are focused on building “We have teams around the world
NEWOPPORTUNITIES
of this whilst the opportunities themselves expand into the necessary infrastructure and that continually monitor what's She concludes, “One of the key roles
increasingly diverse areas. scale around the music experiences. going on in different markets. They that we can play in supporting what
This includes creating strategies are dedicated to looking at the our artists want to do, is to give them
Looking top-down at the landscape today, Michael Nash, and partnerships that support the innovative technologies and business as many options as possible, while
EVP, Chief Digital Officer, Universal Music Group sees four creative and commercial success of models that are coming up through also de-risking those options for
main areas. “Social media, broadly defined, that continues artists, and investing in the systems the start-up community to identify them as much as possible, whether
to be the big prize in terms of opportunity. to enable more creators to engage ways in which we can enhance those through developed expertise, better
with new platforms whilst tracking opportunities to support our artists.” economics or data insights.”
NEWOPPORTUNITIES
“There’s a constant evolution of platforms and we’re and understanding the impact they
making a persistent push to ensure that our artists are fully are having. She notes that GenZ is a key
participating in the value that they’re creating on these demographic of focus as record
platforms – economically – and accessing new ways to “In all of these new areas, we want companies look to build out future
better connect with their fans. to do more than just react to the opportunities and experiences for
opportunity. We work with tech artists. “We're seeing Gen Z want We think a lot about how
“Then there are opportunities to engage with ‘super- and gaming companies to create to embrace new ways of engaging
to help artists enhance
NEWOPPORTUNITIES
fans’. We see the opportunity with the devotion to vinyl. the right environment and develop with artists. There continues to be a
Very often it isn’t making it out of its shrink wrap. It’s less business models and solutions that greater shift towards next generation their direct-to-fan
about how it sounds than about fans longing for a deeper benefit as many of our artists as platforms, and we are seeing a relationships.”
connection with artists and we think growth in vinyl suggest possible both now and in the future. rise in revenue streams from new
ANGELA LOPES
a bigger opportunity with a variety of different products and To deliver across our roster in a categories.” SVP, Strategy & Investments,
propositions offered directly to them by the record labels, more scalable way, we do our due Sony Music
on behalf of the artists. diligence when forging relationships Fan communities also are playing an
with new partners, build out teams increasingly important role in evolving
with the right skillset, and build back- music experiences, she says. “We
end data and analytics reporting to think a lot about how to help
judge whether collaborations are artists enhance their direct-to-
successful.” fan relationships. Fan communities
Sebastian Yatra photo by Erick Quituizaca30 IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY IFPI GLOBAL MUSIC REPORT 2023 — STATE OF THE INDUSTRY 31
“WE'VE BUILT A GLOBAL TEAM of those things and to help guide that maybe are just starting out in of an artist’s career, it used to be that
OF PEOPLE TO HELP GUIDE our artists through an increasingly their careers.” you could rely fully on your recorded
OUR ARTISTS THROUGH AN complicated landscape.” music and touring as your revenue
INCREASINGLY COMPLICATED She highlights the impact the streams. In today’s world there are
LANDSCAPE.”
Naomi McMahon, SVP, Head pandemic had on brand partnerships. huge benefits in having a much more
Bob Workman, SVP, International Strategic Marketing & Partnerships, “Live [music] was cut off as an avenue diversified pie chart, and brand and
Brand Partnerships, Warner Music Universal Music Group, gives some and the value of brand partnerships as merchandise is a huge part of that.”
and General Manager, WMX UK, insight into her department’s reach a way to engage with fans catapulted.”
emphasises the importance of and infrastructure. She says, “We That’s why, Scoffern says, music
tailoring new opportunities around have people operating across 40 The attraction for brands themselves, companies today are focused on
individual artists – something that can markets-with a global focus on brand meanwhile, remains the same – only how merch opportunities fit into the
only be achieved by having interests partnerships-and we have initiated stronger. “They understand the value larger equation of an artist’s career,
and expertise in a broad spectrum of more than 200 programs in the past of authentically connecting with and is why they look to ensure that
developing sectors. year alone. audiences. Music is the number one authenticity and the artist’s vision
passion point, right? It's the most is front and centre in products and
He says, “Our artists have a wide powerful way for them to reach branding.
palette of interests, passions, and audiences and fans.
skill sets, and that's reflected in He continues, “We strive to have
the audience as well. We are there “We sit alongside that, really very deep relationships with the
to help our artists and their music, We are there to help understanding what those brand leadership of labels, in addition to
and ensure their creativity is heard, our artists and their partners are doing in music and what close relationships with artists and
seen and consumed in many more they want to achieve. Then creating their management. The sooner we can
settings than it would have done
music, and ensure their opportunities for our artists that are work with an artist and align on what
previously. We see this as critical creativity is heard, mutually beneficial. their identity is and start consistently
and have worked to ensure that we seen and consumed in communicating it on merchandise, on
have the global expertise, scale and “What’s great is that alongside this their website, on socials and so on,
relationships to be able to do that.
many more settings engagement from brands, we've the more successful the partnership
than it would have done seen artists leaning in in ways that will be.
“That's where, certainly within the previously." they may have been reluctant to do
field of brand partnerships, there's so before, maybe because it was seen “There has to be a creative vision that
BOB WORKMAN
lots of opportunity. We’re often SVP, International Brand as a distraction, or the return wasn't runs through everything associated
engaged in an area or activity that Partnerships, Warner Music there. Now we're really seeing huge with an artist’s brand identity - the
Lil Nas X photo by Kaito
might not be fundamentally about and General Manager, WMX UK value when both parties come to the logo, the touring branding, the single
the music. It might be a fashion table and understand creatively and artwork, the album artwork, what the
collaboration, or it might be a values commercially what we're trying to artist is wearing. It's beneficial for “It’s a partnership model. We mostly
proposition, such as gender equality, “The focus is very much on creating achieve.” artists if there's consistency running drive the ideas, but either side of that,
or sustainability, or the environment. broader strategic partnerships that through all of that.” at the planning stage, we make sure
our artists and labels can benefit She concludes, “I feel like we’re we understand who the artist is, what
“There are more lanes to operate from, but then also going in on a drawing new maps right now. I love Healy points to the company’s work The focus is very much they want to do, what sort of partners
in than ever and we've built a global domestic level to create local impact, how what we do is becoming part of with Columbia Records artist Dominic they’re interested in, and then at the
on creating broader
team of people to be super-aware which is important for those artists the norm and that there has been Fike as an example of developing other end they ultimately say ‘yes’ or
this natural integration of these non- merch opportunities with an artist’s strategic partnerships ‘no’ to everything.
traditional revenue streams into the vision. “One of the things that he said that our artists and
mainstream commercial picture.” in the first meeting was ‘nobody really “We work with 400 licensing partners
labels can benefit from.”
needs another T-shirt.’ Sustainability and sell to around 200 different
At Sony Music, global branding and is what’s key to him. So he came up NAOMI MCMAHON retailers with more than 60,000
SVP, Head Strategic
design agency Ceremony of Roses with an idea to do some upcycling, individual stores worldwide, from
Marketing & Partnerships,
works with the artist community to and Ceremony of Roses acquired Universal Music Group the likes of Sweden’s H&M, through
provide merchandise development vintage t-shirts and screen printed Hot Topic from the US, to Australia’s
and services. over them with Dom’s new art. The Cotton On. The great thing for artists
result was a more sustainable and Chris Onyekweli, High Street Retail is that they can just plug into that
Brad Scoffern, Founder & CEO, unique item for his fans.” Account Director, Warner Music, ecosystem.”
Ceremony of Roses says that retail says: “We want to try and be involved
and merchandise operates as an She adds, “We really want artists with the artists right from the start, “And then there’s a sales team that
increasingly important extension of that we work with to feel like we're a so we can educate and strategise with focuses heavily on maximising all
an artist’s brand and creates another creative partner, not a vendor. I think them. And, of course, the bottom opportunities. We deal with the
way to connect even further with a that's the hallmark of our relationship line is that the artist gets approval logistics, the paperwork – and since
global fanbase. with our roster. We're not just on everything they do; they're in full Brexit that’s become so much more
a transactional ‘one and done’. control. complicated. That’s all there for them
Chief Business Officer at Ceremony We really build and work with them and taken care of for them, by best-
of Roses, Mary Healy, explains, “I 365 days a year.” in-class teams.”
think when you look at the pie chart
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