The biz has only just returned to work and already the news of Guy Moot's move from Sony/ATV to the top job at Warner/Chappell – where he'll be working alongside Carianne Marshall – has told us plenty about the music business right now.
Firstly, the current publishing merry-go-round shows how important the sector has become; full of just as many movers, shakers and rainmakers as the record business. It isn’t over yet either, with all eyes now on how Sony/ATV will replace the highly-respected UK exec. And you can expect some Brits to be in the mix for that job as well.
Secondly, Moot’s intention to be based in London and Los Angeles tells us how globalised the business has become. Following Max Lousada’s decision to split his time between the UK and US, which seems to be working out brilliantly, you can expect fewer and fewer top execs to tie themselves down to a single location in future.
Much has been written about the fact that all three major labels are currently being run by Brits, but in fact British cross-genre expertise, picked up via years of listening to Radio 1 and reading the UK music press, is now in demand at every level, in every sector.
But, while we’re conquering the world, it’s important that no one takes their eye off the ball at home. Last year was another bleak one for homegrown breakthroughs, with Speak Your Mind from Music Week Breakthrough Artist Of The Year Anne-Marie the only 2018 UK debut album to make a truly significant impact.
There were other interesting things going on of course, and the picture at track level looks much more promising, while 2019’s hotly-tipped hopefuls look the most-likely-to crop in a while (Music Week will unveil our tips, and the industry's, for the year ahead next week).
But make no mistake, 2019 is a make-or-break year for making-it-or-breaking-it. It’s a chance to show that 2017 was no fluke and that Britain still rules the new waves.
After all, if our executives can crack it globally, it should be a breeze for our pop stars...