Only days after announcing her departure from WME, Lucy Dickins has been named a managing director at Creative Artists Agency (CAA).

Dickins, who had been global head of contemporary music and touring at WME, will begin at CAA in mid-April with more details on her new role forthcoming, as well as the artists she will be representing. She will be based in the Los Angeles office.

“I’m really excited to be joining CAA,” Dickins said in a statement. “I’ve long admired the vision and leadership of the company and the incredible team behind it. What matters most to me is the opportunity to continue building deep creative partnerships with artists and helping them realize their ambitions on a global stage.” 

“Lucy is a tremendous business leader and exceptional agent, with a deep understanding of talent and what it takes to help them realize their most ambitious goals,” added CAA co-chairman and CEO Bryan Lourd. “She’s a dynamic, thoughtful and hands-on leader with invaluable global management experience, creativity, and strategic insight. We look forward to working with her across all divisions of our company.” 

Dickins’ arrival does not affect the current leadership of Darryl Eaton, Emma Banks and Rick Roskin as co-heads of global touring. They assumed those roles in June 2024, overseeing more than 300 staffers.

Dickins, who is on Billboard’s Global Power Players list, grew up in the industry in London, joining her father Barry Dickins’ International Talent Booking agency in 1999.She started with WME in 2019 and moved to the U.S. in 2022.

In her departure memo, WME co‑chairman Christian Muirhead praised Dickins’ impact across two continents, crediting her with revitalizing WME’s London office before stepping into the top music role in Los Angeles during “one of the most disruptive periods in the live music business.” Muirhead credited Dickins with “re‑energiz[ing] our presence in London, built a strong team, and solidified WME’s leadership in the region.”

In January, WME’s head of international touring Tony Goldring joined CAA as an agent in the global touring division, while in February, WME co-head of its pop division David Bradley joined CAA.

For decades, the United States has dominated the global music business, both as its largest market by revenue and as a singular source of talent and repertoire.

But during Bad Bunny’s historic and joyous 13-minute-long Super Bowl LX Halftime Show on Feb. 8, the Puerto Rican superstar redefined “America.”

“God bless America,” he shouted. “Sea [Be it] Chile, Argentina, Uruguay, Paraguay, Bolivia, Peru, Ecuador, Brazil, Colombia, Venezuela, Guyana, Panama, Costa Rica, Nicaragua, Honduras, El Salvador, Guatemala, Mexico, Cuba, República Dominicana, Jamaica … United States, Canada and my motherland, mi barrio, Puerto Rico — seguimo aquí [we’re still here].”

It was a profound moment, a recognition of the true reach of “American” culture, and just one example of the global forces reshaping the music business today.

Here’s another.

Consider two singers — one born in Hawaii, whose ancestry, according to a genealogist, includes Puerto Rico, Hungary, Ukraine and the Philippines; the other born in New Zealand and raised in Australia, of Korean descent.

Those artists, Bruno Mars and Rosé, teamed up for the hit single “APT.” and, in February, the song was named IFPI’s biggest selling global single of 2025.

“Rosé and Bruno Mars topping the IFPI Global Single chart with ‘APT.’ is a landmark moment,” IFPI CEO Victoria Oakley said. “This year’s results also underline the global reach of today’s music market, with songs connecting across languages and borders.”

Billboard’s Global Power Players celebrates the executives from key industry sectors — nominated by their firms and peers and chosen by our editors — who have primary responsibility for markets outside the United States.

These are markets that account for some 60% of the world’s recorded-music revenue, led by Japan, the United Kingdom, Germany, China, France, South Korea, Canada, Brazil and Mexico, according to IFPI’s 2025 Global Music Report. (IFPI will release its 2026 report with updated rankings on March 18.)

Amid the scores of high-achieving individuals listed here, we highlight a dozen who work in music capitals from Tokyo to London, Miami to Melbourne, Australia.

We’ve asked them what they view as the greatest challenge now facing the global music industry.

Avex CEO Katsumi Kuroiwa emphasizes the need for the music industry to balance “global scale with local cultural expertise.” Companies, he says, must “operate with deep understanding across multiple regions, cultures and markets simultaneously.”

Phil Rodríguez, whose Move Concerts presented Bad Bunny’s residency in Puerto Rico, highlights the need for improved touring infrastructure — new venues — in emerging markets.

Tunde Balogun, founder and CEO of Love Renaissance (LVRN), cites “the reluctance to learn and grow with new technology such as AI.”

But Jon Ollier, who founded his booking, management and digital marketing company, One Fiinix Live, during the pandemic, takes a broader view.

“Honestly, I am not being flippant here,” he says, “but the threats to democracy and global peace are the biggest challenges we face. I can’t say this strongly enough: Live music needs the world to maintain peace to survive and thrive and we should all be doing what we can to defend this.”

Music Groups: Global

Johannes von Schwarzkopf
Chief strategy officer, BMG
Alberto Chullen
Executive vp of investments, BMG
Nitsa Kalispera
Executive vp of global supply chain, BMG

Rebecca Berman
Senior vp of international, Concord Label Group

“I continue to be proud of how forward-thinking Concord is as a company,” Berman says. “Having been here for 18 years, I’ve seen us grow from a small independent label to a force that can compete with the biggest music companies on the planet. This year our strategic acquisitions/investments in companies like Stem and Giant Records show our ambition to remain at the forefront of the recorded-music space.”

Favorite recent musical moment: “​I was honored to take part in several events this year for We Are Moving the Needle, including their Resonator Awards. The foundation works to expand education and career opportunities for women and nonbinary people in recording and engineering — fields where they remain severely underrepresented. These events were truly empowering and inspiring to be part of. One highlight was seeing Joni Mitchell present Chaka Khan with an award for her cultural impact at the Resonator Awards.”

What the global music industry needs to know now about your company: “We are a force that should not be underestimated.”

The greatest challenge facing the global music industry: “The challenges presented by the intersection of technology and humanity. A simple response to a much more complicated issue.”

Melissa Thomas
Executive vp of international marketing for U.S. repertoire, Sony Music Entertainment
Naoise Ryan
Senior vp of U.S. international marketing, Epic Records/RCA Records
Georgina Hilton
Senior director of U.S. international marketing, Arista Records/Columbia Records

Adam Granite
CEO of Africa, Middle East and Asia, Universal Music Group
Natasha Baldwin
President of global classics, jazz and screen, Universal Music Group/Universal Music Group Publishing
Michelle Teh
Senior vp of global classics and jazz, Universal Music Group

Eric Wong
Executive vp of recorded music, Warner Music Group; president, East West Records; president, Warner Music Canada
Jessica Keeley-Carter
President of marketing and business analytics, Warner Music Group
Phebe Hunnicutt
Senior vp of integrated marketing services and ­strategy, Warner Music Group
Samira Leitmannstetter
Senior vp of Europe, Middle East and Africa, regional marketing, Warner Music Group

Music Groups: Canada

Shane Carter
President, Sony Music Canada

Julie Adam
President/CEO, Universal Music Canada

Julia Hummel
Madelaine Napoleone
Co-GMs, Warner Music Canada

Music Groups: Europe, Middle East, Africa

Alistair Norbury
President of U.K., Europe and Asia-Pacific, BMG

Daniel Lieberberg
President of continental Europe and Africa, Sony Music Entertainment
Christoph Behm
CEO, Sony Music Entertainment Germany, Switzerland, Austria
Marie-Anne Robert
Managing director, Sony Music Entertainment France

Jason Iley
Chairman/CEO, Sony Music U.K. and Ireland

Frank Briegmann
Chairman/CEO of Universal Music Central Europe/Deutsche Grammophon
Olivier Nusse
CEO, Universal Music France/Universal Music Africa (French-speaking)
Patrick Boulos
CEO of Middle East and North Africa, Universal Music Group
Joakim Johansson
President of Universal Music Nordics, Universal Music Central Europe

Dickon Stainer
Chairman/CEO, Universal Music Group U.K. and Ireland
Rebecca Allen
Chief artist and strategy officer, Universal Music Group U.K. and Ireland
Nickie Owen
President of international marketing, Universal Music Group U.K. and Ireland

Simon Robson
President of Europe, Middle East and Africa recorded music, Warner Music Group
Alain Veille
President of Warner Music France
Pico Cibelli
President of Warner Music Italy
Mark Fry
President of Warner Music Nordics
Niels Walboomers
President of Warner Music Central Europe, Benelux/Spinnin’ Records/Warner Chappell Music Benelux

Ed Howard
Briony Turner
Co-presidents, Atlantic Records U.K.
Joe Kentish
President, Warner Records U.K./Parlophone Label Group

Music Groups: Latin

Afo Verde
Chairman/CEO, Sony Music Latin Iberia
Maria Fernández
Executive vp/COO, Sony Music Latin Iberia
Fernando Cabral
CEO, Sony Music Entertainment Brazil
Jose María Barbat
President, Sony Music Iberia
Roberto López
President, Sony Music Mexico
Damian Amato
President, Sony Music Hispanic South America
Herb Payán
Executive vp of digital strategy and ancillary revenue, Sony Music Latin Iberia
Cristiane Simões
Senior vp/label head, Sony Music Brazil
Tatiana Cantinho
Senior vp/label head, Som Livre

Jesús López
Chairman/CEO, Universal Music Latin America and Iberian Peninsula
Paulo Lima
President, Universal Music Brazil
Alfredo Delgadillo
President/CEO, Universal Music Mexico
Ana Clara Ortiz
President/CEO, Universal Music Southern Cone
Luis Fernández Sanz
President, Universal Music Spain

Alejandro Duque
President, Warner Music Latin America; president, ADA
Guillermo González Arévalo
President, Warner Music Iberia
Leila Oliveira
President, Warner Music Brazil
Tomás RodrÍguez
President, Warner Music Mexico and Mexican Music

Music Groups: Australasia

Katsumi Kuroiwa
CEO, Avex
Brandon Silverstein
CEO, Avex Music Group

“Avex has made visible progress on its long-term global strategy, Avex Vision 2027, which focuses on building a sustainable global platform spanning music, [intellectual property] creation and artist development beyond Japan,” says Kuroiwa, who named Brandon Silverstein the CEO of the U.S-based Avex Music Group in March 2025.

“A key milestone was a Grammy Award win,” Kuroiwa adds. “In February, songwriter Kamal Wilson, signed to our North American hub, Avex Music Group, won best R&B song at the 68th Grammy Awards for Kehlani’s ‘Folded.’ Having a song — for which Avex holds the publishing rights — receive this level of global recognition reflects the continued strengthening of our global publishing and creative infrastructure.

“Avex Music Group has also expanded its global publishing footprint through work with leading international artists. Recent credits include Drake’s ‘Nokia,’ Rihanna’s ‘Friend of Mine,’ Justin Bieber’s ‘Swag,’ Shenseea’s ‘Shake It to the Max,’ ‘Lose My Mind’ by Don Toliver featuring Doja Cat from the F1 film soundtrack and [the] Tate McRae hits ‘Sports Car,’ ‘Revolving Door’ and ‘Tit for Tat.’ These works highlight the depth of Avex’s songwriting and creative network across genres and markets.”

Favorite recent musical moment: “Seeing XG perform at Coachella on one of the world’s most influential global stages. Their reception reflected not only musical success but also genuine cultural connection, showing how Japanese artists can resonate authentically with audiences around the world.”

What the global music industry needs to know now about your company: “Avex is building a global, 360-degree platform that integrates the creation, development and long-term expansion of intellectual property across music, publishing, management and creative industries.

“Through the creative capabilities of Avex Music Group and its partnership with S10 Entertainment, Avex has strengthened its ability to operate across key global markets while maintaining cultural authenticity and a long-term view on artist development.

“At the same time, Avex continues to invest in talent cultivation through initiatives, which provides structured training and development programs for emerging artists, creators and producers. By combining global infrastructure with local cultural understanding, Avex aims to support artists in building durable international careers rather than short-lived success.”

The greatest challenge facing the global music industry: “Balancing global scale with local cultural expertise. Streaming has removed many geographic barriers, creating unprecedented opportunities for artists worldwide. At the same time, it has raised expectations for music companies to operate with deep understanding across multiple regions, cultures and markets simultaneously.

“For Avex, this reinforces the importance of building an integrated global ecosystem that connects creative development, publishing, management and marketing while respecting cultural nuance. Our continued investment in global partnerships and infrastructure reflects our belief that long-term international growth requires both global reach and local insight.”

Matt Gudinski
Chief executive, Mushroom Group

It has been five years since Matt Gudinski took the reins of Mushroom Group, following the death in March 2021 of his father, Australian music industry pioneer Michael Gudinski.

In 2023, Matt Gudinski oversaw the 50th anniversary of Mushroom, with an operation that spans recording, publishing, touring and booking agencies, merchandise and marketing services, venues, exhibition and events production, neighboring rights, branding, talent management and more. Based in Melbourne, Australia, the company has a global reach.

Multiple Mushroom Group artists landed nominations at the 2025 Australian Recording Industry Association Awards, including Confidence Man, Gordi, Mia Wray, The Teskey Brothers, Tobiahs, Bliss n Eso and Kylie Minogue, whose 2025 Tension tour was produced by Frontier Touring on its Australian leg. A companion live album, released through Mushroom Music, reached No. 14 on the ARIA Chart (as of Feb. 20) for Minogue’s 23rd top 20 album, a career tally that includes nine No. 1s.

Asked for one recent company milestone, Gudinski replies: “With so many parts to the Mushroom Group, it’s always hard to pick just one. But in 2025, our annual event Fridayz Live selling out with 160,000 tickets across four shows was a clear highlight.”

Favorite recent musical moment: “I might be biased, given he was one of the artists on our Fridayz Live 2025 event, but seeing the huge organic fan-led movement for Pitbull was inspiring, especially with the way he and his team leaned into it. We saw tens of thousands dressed up in full Pitbull cosplay across our Fridayz shows, which was a pretty memorable sight.”

What the global music industry needs to know now about your company: “The Mushroom Group is stronger than ever across all our divisions and continues to be the market leader in Australia after 53 years. We continue to expand our footprint globally across all areas, live events, merchandise, talent and rights management, artist development and content creation.”

The greatest challenge facing the global music industry: “Our greatest challenge is also our greatest opportunity, and that is with the amount of amazing talent worldwide, it is making it harder to cut through and build long-term success for artists. Our challenge is helping build career artists and ensuring all the amazing artists have the success they deserve in a saturated market.”

Shunsuke Muramatsu
President, Sony Music Entertainment Japan
Andrew Chan
CEO, Sony Music Entertainment Greater China
Shridhar Subramaniam
President of Asia and Middle East, Sony Music Entertainment
Vinnit Thakkar
Managing director, India, Sony Music Entertainment

Cussion Pang
Executive chairman, Tencent Music Entertainment Group
Zhu “Ross” Liang
CEO/director, Tencent Music Entertainment Group

Naoshi Fujikura
President/CEO, Universal Music Japan
Timothy Xu
Chairman/CEO, Universal Music Greater China
Calvin Wong
CEO, Universal Music Southeast Asia; senior vp of Asia, Universal Music Group
Devraj Sanyal
Chairman/CEO, Universal Music India and South Asia; senior vp of strategy for Asia Pacific, Middle East and Africa, Universal Music Group
Sean Warner
President, Universal Music Australia and New Zealand

Dan Rosen
President of Warner Music Australasia and Southeast Asia
Takeshi Okada
President/CEO of Warner Music Japan
Jay Mehta
Managing director of Warner Music India/South Asian Association for Regional Cooperation
Lofai Lo
President of Asian Pacific recorded music, Warner Music Group

Streaming

Paul Firth
Director of global music industry, Amazon Music
Rocío Guerrero
Director of music for Latin-Iberia, Amazon Music
Laura Lukanz
Head of music for U.K., Amazon Music

Rachel Newman
Ole Obermann
Co-heads, Apple Music
Anjali Malhotra
Global director, Apple Music Classical
Juan Paz
Global head, Latin music business, Apple Music

Charlotte Bwana
Vp of marketing, Europe, Africa, Middle East and North Africa, Audiomack

Matt Gralen
President/CFO, The Beatport Group
Helen Sartory
Chief revenue officer, The Beatport Group

Alexis Lanternier
CEO, Deezer

In December, Billboard reported that “Deezer has driven the conversation about AI music on streaming services this year by releasing a series of increasingly eye-opening reports.”

“Not only that,” Lanternier recently added, “Deezer has been the only major streaming service taking action to promote transparency and fairness by detecting and tagging AI-generated music and removing it from algorithmic recommendations. This way, Deezer gives its users a clear choice regarding what to listen to, while making it harder for fraudsters to game the system.

“All of this is made possible by Deezer’s proprietary and patent-­pending AI detection technology, which was put in use [in] December 2024,” Lanternier says.

“In the past 18 months, Deezer has also continued the rollout and development of its artist-centric payment system, which not only supports fairer payments for artists and songwriters on the platform but also makes it harder to commit fraud through boosting streams for individual users.

“All of these actions align with Deezer’s mission to help music thrive, fighting for the artists that create it and the fans that live it. Most platforms treat music as content to monetize, but we believe it’s art to protect and culture to experience.”

Favorite recent musical moment: “Definitely our special-edition Purple Door event with Marguerite, Miki, Camille Yembe and Saaro from our Deezer Next program. Purple Door is our flagship event series where we bring artists and fans together in an intimate setting. Deezer Next is our dedicated program that has helped emerging artists reach new listeners and grow their fan base since 2017.

“With a special-edition Purple Door, we brought these four artists and some of their most devoted fans together for a truly unique experience. All artists gave fantastic performances, and the superfans in the room made the ambience electric. I discovered all the artists myself through Deezer Next and became a fan after this event. Experiences like this are exactly what we want to create, building strong and lasting connections between fans and artists through unforgettable moments.”

What the global music industry needs to know now about your company: “Music deserves a future that puts creators and culture first and we’re here to protect it, elevate it and fight for it.

“This approach has brought attention to Deezer globally in 2025, especially when it comes to transparency and fairness in relation to AI music. In the years to come, we will continue to lead the way, delivering solutions and promoting initiatives that bring value to the music ecosystem, artists, songwriters and fans. This includes a continued focus on fairer streaming remuneration.”

The greatest challenge facing the global music industry: “Definitely AI music. With over 60,000 AI-generated tracks being delivered to Deezer every day, and no doubt to all other stream platforms, it’s an unprecedented development and we are far away from seeing the full impact yet.

“The use of AI is not the issue in itself. New tools have always changed how music has been created. But with the possibility to create thousands of tracks in a matter of minutes with just a text prompt, we are now facing a whole new set of challenges, ­especially when it comes to streaming fraud.

“By detecting, tagging and excluding AI-generated music from algorithmic recommendations and editorial playlists, we are not only making it a choice for our users to listen to AI-music [but] also removing opportunities for committing streaming fraud with AI music. Simply put, fraudsters could artificially boost a track and trick the recommendation algorithm to pick it up, and unknowing casual listeners will continue to stream the song, making money for fraudsters.

“This is impossible with Deezer’s setup, and that’s why we’re seeing so few streams on AI-generated music on our platform. We have now made our detection tool available for licensing, and we’re hoping that more streaming services and other music industry actors will join us in our fight for transparency and fairness when it comes to AI-­generated music.”

Georges Fornay
Deputy CEO, Qobuz
Dan Mackta
Managing director of North America and Northern Europe, Qobuz

Ama Walton
General counsel/executive vp, SoundCloud

Mark Butterworth
Global head of songwriter, publisher and commercial label partnerships, Spotify
Melanie Parejo
Head of music for Southern and Eastern Europe, Spotify
Kossy Ng
Head of music for Southeast Asia, Hong Kong and Taiwan, Spotify
Andy Sloan-Vincent
Head of music for Northern Europe, Spotify

Paul Smith
Managing director, Asian Pacific music, YouTube
Sandra Jimenez
Regional director, Latin American and U.S. Latin music, YouTube
Dan Chalmers
Head of music, Europe, Middle East and Africa, YouTube

Labels, Distributors, Artist and Label Services

Sean Miyashiro
Founder/CEO, 88rising

Adriana Sein
Global head of artist and market development, ADA
Howard Corner
Managing director, ADA U.K.
Marylynne Drexler
Global head of content acquisition and business and legal affairs, ADA
Nikoo Sadr
Head, ADA Nordics
João Alquéres
Vp, ADA Brazil

Colin Gayle
Co-founder/CEO, Africa Creative Agency
Yvette Gayle
Co-founder/COO, Africa Creative Agency
Brandon Hixon
Tirinda Hixon
Co-founders, We Make Music

Maykel Piron
Co-founder/CEO, Armada Music Group

Jan Willem Kaasschieter
CEO, Artone
Drew Hill
Managing director, Proper Music Distribution

Torsten Luth
Executive vp of international, Atlantic Music Group

Paul Hitchman
COO, AWAL
Victoria Needs
Co-managing director, AWAL
Ben Akinbola
Head of growth, AWAL

Emmanuel De Buretel
Co-founder/CEO, Because Music

Martin Mills
Chairman, Beggars Group
Paul Redding
CEO, Beggars Group
Brandon Becker
Global vp of streaming, Beggars Group
Imelda Hehir
Global streaming manager, Beggars Group
Emily Kendrick
GM, XL Recordings

Romain Vivien
Global head of music/president of Europe, Believe
Viktoria Siniavskaia
President of Middle East, Turkey, and Africa, East and Southern Europe, Americas, Believe
Sylvain Delange
President of Asia-Pacific, Believe
Brian Miller
Chief revenue officer, TuneCore

Dan Waite
CEO, Better Noise Music

“Known for being the artist development label, Better Noise Music signed [Sweden’s] SABATON, the No. 1 power metal band in the world, who wanted to break in the U.S.,” says Waite, whose globally focused label drove the Swedish rockers to No. 10 on Billboard’s Mainstream Rock Airplay chart with “Crossing the Rubicon” (featuring Nothing More).

“We also worked with Five Finger Death Punch to rerecord their biggest hits, to help with a dispute with their prior label, resulting in two best-of albums.” The latter contained the band’s single “The End” featuring Japanese rockers Babymetal, which topped Mainstream Rock Airplay.

“Nothing More had their fourth No. 1 [“House on Sand”] from their Carnal album,” Waite adds, “and The Funeral Portrait had their third No. 1 in a row [“Dark Thoughts”] from their album Greetings From Suffocate City, making chart history… reaching No. 1 on their first three radio releases.”

Favorite recent musical moment: “When two label bands go on the road together it’s always special, and that happened twice in 2025 with Nothing More and Solence, and also with The Rasmus and The Funeral Portrait.

“But the real highlight was seeing SABATON headline the O2 [Arena] for its Legendary Tour. The stage was built to resemble a medieval castle; the drum riser was a castle turret with gas-fired lanterns burning all around; actors playing Napoleon, Caesar, Genghis Khan and a Knight Templar introduced tracks as the band played from the Legends album, which highlights 11 historical figures from history in a power metal style. That was a culmination of a lot of work in an amazing venue.”

What the global music industry needs to know now about your company: “Artists come to Better Noise Music as they want to grow their audience; have success at streaming, digital, radio and on tour; and we work to their strengths with our specific methods across departments, globally, with bespoke plans.

“We can break new acts like The Funeral Portrait; give acts a boost in their career like Yellowcard, who just had their first No. 1 single and largest hit since 2003; take bands like the Mongolian language throat singing metal act The Hu and make them a main-stage televised festival act with global appeal; and take arena acts and expand the reach of a U.S.-focused act globally or a European act into the U.S. like SABATON.”

The greatest challenge facing the global music industry: “There are several issues. Consolidation of distribution routes to market; the undervaluing of music in microstreaming payment terms; AI noise and fraud; the growth of podcasts and audiobooks eating into listening hours; tariffs, red tape and inflation for tours and global merch. You have to stay nimble and move fast. We need a healthy ecosystem of [digital service providers] — and DSPs as shortform video platforms need healthy terms with labels and their artists.”

Brianne Deslippe
Senior vp of marketing, Big Loud Records

“One of the things I’m most proud of is how intentionally we’ve grown our international presence,” Deslippe says. “We’ve celebrated multiple streaming wins and sold out international tour dates with Stephen Wilson Jr., The 502s, Dylan Gossett, Morgan Wallen and more.

“Seeing artists connect meaningfully with fans outside the U.S. and knowing that growth was thoughtful, and not forced, has been rewarding,” she says.

Favorite recent musical moment: “The most memorable moment for me was Morgan’s underplay at the Roundhouse in London last May. It was an intimate, filmed concert that felt incredibly rare and special to be a part of. That same week, his album hit No. 1 in the U.K., allowing him to celebrate the milestone in real time with his fans, making him only the fifth country artist to reach that achievement. It was a powerful reminder of how far music can travel when it connects ­authentically, and it remains a highlight of my career.”

What the global music industry needs to know now about your company: “We care deeply about growth, but we care just as much about sustainability, creativity and keeping the human side of this business intact.”

The greatest challenge facing the global music industry: “There’s so much music, so much data and so much pressure to chase the next moment. The real work is slowing down enough to make decisions that serve artists and fans long term.”

Kieran Thurgood
Executive vp of global marketing, Capitol Music Group

Jo Charrington
President, Capitol Records U.K.

Tom Nieuweboer
CEO, !K7 Records
Daniel Turcotte
President, Monstercat
Manu Kaushish
President of international, Create Music Group

Federico Lauria
Founder/CEO, Dale Play

Laura Monks
President, Decca Records

Alec Boateng
President, 0207 Def Jam

Clemens Trautmann
President of Deutsche Grammophon and new business strategy, global classics and jazz, Universal Music Group

Jamie Oborne
Founder/owner, Dirty Hit

Donny Novakovic
Vp of international marketing, Disney Music Group

Pieter van Rijn
COO, Virgin Music Group; former CEO, Downtown Music
Satoshi Tanaka
CEO, Space Shower FUGA
Richard Leach
President, Curve Royalty Systems
Liz Northeast
Senior vp of Europe, Middle East and Africa, FUGA

Editor’s note: Power list honorees are chosen for achievements in the previous 12 to 18 months, a period during which Downtown Music Holdings was a stand-alone entity.

Jonas Haentjes
CEO, Edel

Colin Batsa
Chairman/president, EGA Distro
Charley Snook
Managing director, EGA Distro

Guillermo Ramos
Managing director of Europe, EMPIRE
Ted May
Senior vp of international marketing, EMPIRE
Faryal Khan-Thompson
Vp of market strategy and development for South Asia, EMPIRE

Tom Lewis
President, Fontana

Sipho Dlamini
President/managing director, Africa and Middle East, gamma.

Si-Hyuk Bang
Chairman, HYBE
Jason Jaesang Lee
CEO, HYBE
Taeho Kim
COO, HYBE
Hyunrock Han
CEO, HYBE JAPAN
Isaac Lee
Chairman/CEO, HYBE America

Pascal Bittard
President, IDOL

Ben Larsen
Executive vp of international, Interscope Geffen A&M

Louis Bloom
President, Island EMI Label Group

J.Y. Park
Founder/chairman, JYP Entertainment
Jimmy Jeong
President/CEO, JYP Entertainment
H.K. Shin
President/CEO, JYP America; chief strategy officer, JYP Entertainment

Joseph Chang
Co-CEO, Kakao Entertainment

Tunde Balogun
Founder/CEO, Love Renaissance (LVRN)

Balogun chose Love Renaissance as the name of his company with a nod to the Harlem Renaissance, the flourishing period for African American culture in that Manhattan neighborhood in the 1920s and ’30s. But LVRN, based in Atlanta, has moved beyond its early base in American hip-hop to embrace the rise of Afrobeats and Africa’s next generation of artists.

One “major achievement,” Balogun says, “is the song ‘Isaka’ by our rising artist Ciza, which became the No. 1 most-played song on radio in South Africa in 2025, while also holding the No. 1 spot on Billboard’s South Africa Songs chart for nine weeks.

“Additionally, our artists TXC and Al Xapo earned their first No. 1s on Spotify and Apple Music Nigeria with ‘Nakupenda,’ alongside continued viral success, including Al Xapo’s own viral record ‘Snokoloko.’ ”

Favorite recent musical moment: “Odeal winning two awards at the 2025 MOBO Awards was a big one, especially because it wasn’t something many people saw coming. Summer Walker’s highly anticipated album Finally Over It was another highlight because the attention to detail and the way the rollout was executed made it feel like a real moment, not just a release. Seeing Ciza appear at Hï Ibiza with Black Coffee was also huge, and it is hard to imagine a bigger milestone in a young DJ’s career than that.”

What the global music industry needs to know now about your company: “Our strength isn’t scale, but curation. We’ve stayed small enough to feel every heartbeat and big enough to amplify every voice, which is what differentiates LVRN in an era of algorithmic volume.”

The greatest challenge facing the global music industry: “The reluctance to learn and grow with new technology such as AI.”

Michael “Don Jazzy” Collins Ajereh
CEO, Mavin Records
Tega Oghenejobo
President/COO, Mavin Records

Ami Brown
Vp of international marketing, MCA

Dan Smith
Vp of U.K. and international, MRNK Music Group

Martin Price
Senior vp of global business development, ONErpm
Nuno Rocha
Portugal country manager and business development for Lusophone and Francophone countries in Africa, ONErpm

Chris Manning
Managing director of U.K. and Europe, The Orchard
Tricia Arnold
Executive vp of relationships and international sales, The Orchard
Prashant Bahadur
Chief strategy officer and managing director of Asia, Middle East and Africa, The Orchard

Kenny Gates
Executive chairman, [PIAS]

Denzyl Feigelson
Founder/CEO, Platoon

Two years ago, Platoon — the Apple-owned artist services, A&R and music distribution company — increased its efforts to provide career-­boosting ­services to acts worldwide by delving into the classical world.

“One of the many achievements I feel most proud about,” Feigelson says, “is that Platoon is very new in the classical space and has won nine Grammy Awards in a two-year period, offering a new and innovative solution for classical composers, artists to get their music heard, especially to a younger audience.”

Favorite recent musical moment: “The young South African artist Zee Nxumalo — her genuine authenticity has struck a chord with a young South African audience, and she has dominated the top of the charts for years and continues to grow a global fan base with sold-out shows. It exemplifies not only hard work by her, us and her team, but her ability to be the voice of her generation through her lyrics and melodies and story-telling.”

What the global music industry needs to know now about your company now: “Platoon is still and has always been a home for authentic, independent fearless creatives. Platoon understands the DNA of how to help an artist build a business in the current music economy.”

The greatest challenge facing the global music industry: “A great challenge for new and emerging artists is the ability to build a sustainable and successful business under the current business model. I also feel that AI will be both a creative tool and a complicated challenge to the industry.”

Ben Mortimer
President, Polydor Label Group

Per Sundin
President of music and artist relations, Pophouse

George Prajín
Co-founder/president, Prajin Parlay/Double P Records/Double P Management/Double P Publishing
Hassan Emilio Kabande Laija
Co-founder/CEO, Double P Records/Double P Management/Double P Publishing
Max Perez Escudero
Vp, Prajin Parlay/Double P Records

Michael Petkov
Head of international, Redeye Worldwide

Michael Alexander
Executive vp of global marketing strategy, REPUBLIC Collective
Steven Rowen
Senior vp of global marketing strategy, REPUBLIC Collective/Island
Myra DeCastro
Senior vp of global marketing strategy, REPUBLIC Collective/Def Jam
Zoe Briggs
Vp of global marketing strategy, REPUBLIC Collective/Republic Records/Mercury Records

Noah Assad
Co-founder/CEO, Rimas Entertainment; manager, Bad Bunny

Kaiya Sarkis
GM, SALXCO Universal Arabic Music

Chris Cannon
Vp of international strategy, Secretly Distribution
Chloé van Bergen
Vp of operations for U.K. and Europe, Secretly Group
Max Thomas
Head of marketing and campaigns for Asia Pacific, Secretly Distribution

Riki Bleau
Co-president, Since ’93 Records

Daniel Jang
Dmitry YJ Tak
Co-CEOs, SM Entertainment
Mina Jungmin Choi
Chief global officer, SM Entertainment

Lyn Koppe
Executive vp of global catalog, Sony Music Entertainment
Charlie Stanford
Senior vp of international for commercial music group, Sony Music Entertainment

Roni Maltz Bin
CEO, Sua Música Group

Nick Roden
President of Europe, Virgin Music Group
Victor González
President of Latin America and Iberian Peninsula, Virgin Music Group
Michael Roe
Managing director of Africa, Middle East and Asia, Virgin Music Group
Nathan McLay
Managing director of Australia and New Zealand, Virgin Music Group

Kevin Gore
President of global catalog, Warner Music Group
Orla Lee Fisher
Head of dual catalog strategy, Warner Music Group

Luke Armitage
Senior vp/head of international, Warner Records

Publishing

Chris Meehan
CEO of publishing, Believe

Benjamin Budde
CEO, Budde Music

Kim Frankiewicz
Executive vp of international A&R, Concord Music Publishing
Tina Funk
Managing director of Germany, Switzerland and Austria, Concord Music Publishing
Jaime Gough
Managing director of Australia and New Zealand, Concord

Kenny McGoff
Executive vp/head of creative for U.K., Germany, Switzerland and Austria, Kobalt
Leslie Ahrens
Senior vp of creative for Latin America, Kobalt
Swantje Weinert
Senior vp/head of A&R for Germany, Switzerland and Austria, Kobalt
Stephane Berlow
Managing director of France, Kobalt
Simon Moor
Managing director of Asia-Pacific, Kobalt

Mary Megan Peer
CEO, peermusic
Ralph W. Peer
Managing director of U.K. and Australasia/vp of Africa and Middle East operations, peermusic

Robin Godfrey Cass
Partner, Primary Wave Music
David Loiterton
President of Indo and Asia Pacific, Primary Wave Music

Golnar Khosrowshahi
Founder/CEO, Reservoir
Annette Barrett
Managing director and global strategic liaison, Reservoir
Jeremy Lascelles
Co-founder/CEO, Blue Raincoat Music; CEO, Chrysalis Records
Alison Wenham
COO, Blue Raincoat Music; COO, Chrysalis Records
Hussain “Spek” Yoosuf
Executive vp of international and emerging markets, Reservoir; founder/CEO, PopArabia

Carlos Souffront
President, Rimas Publishing
Emilio Morales
Managing director, Rimas Publishing

David Ventura
President/co-managing director of U.K./senior vp of international, Sony Music Publishing
Tim Major
Co-managing director of U.K., Sony Music Publishing
Jorge MejÍa
President/CEO of Latin America and U.S. Latin, Sony Music Publishing
Nasra Artan
Head of international A&R, Sony Music Publishing
Lauran Mendoza
Managing director of Colombia, Sony Music Publishing
Dinraj Shetty
Managing director of India, Sony Music Publishing

Alexandra Lioutikoff
President of Latin America and U.S. Latin, Universal Music Publishing Group
Bertil David
Managing director of France, Universal Music Publishing Group
David Gray
Managing director of U.K./head of global A&R, Universal Music Publishing Group
Adriana Ramos
Managing director of Brazil, Universal Music Publishing Group
Yena Kim
Senior creative manager of Korea, Universal Music Publishing Group

Shani Gonzales
Managing director, Warner Chappell Music U.K.; head of international A&R
Natascha Augustin
Managing director of Warner Chappell Music Germany
Gustavo Menéndez
President of U.S. Latin and Latin America, Warner Chappell Music
Santiago Menéndez-Pidal
President of Southern Europe, Warner Chappell Music
Arica Ng
President of Asia Pacific, Warner Chappell Music
Matthieu Tessier
Managing director of Warner Chappell Music France

Live

Alex Hill
President/CEO, AEG International
Adam Wilkes
President/CEO, AEG Presents Europe and Asia Pacific
John Langford
President of Asia Pacific, AEG International
Jim King
CEO of U.K. and European festivals, AEG Presents
Michael Harrison
Senior vp of global touring, AEG Presents
Simon Jones
Senior vp of global touring, international, AEG Presents

Alfredo Alonso
Entertainment director, Bizarro Live Entertainment
Daniel Merino
Entertainment manager, Bizarro Live Entertainment

Ashish Hemrajani
Founder/CEO, BookMyShow

Naoki Shimizu
CEO, Creativeman Productions

Klaus-Peter Schulenberg
CEO, CTS Eventim

Marcelo Fígoli
Owner/CEO, Fenix Entertainment

Stephan Thanscheidt
CEO, FKP Scorpio Group
Rauha Kyyrö
President of touring and artist development, FKP Scorpio Group; founding partner, Fullsteam
Rense van Kessel
President of touring and artist development, FKP Scorpio Group/Friendly Fire

Dion Brant
CEO, Frontier Touring; president/CEO, AEG Presents Asia Pacific
Susan Heymann
COO, Frontier Touring

France Margaret Bélanger
President of sports and entertainment, Groupe CH

Sia Aghaiepour
Founder/CEO, Heavy Rotation Agency

Yoo Jin Oh
President, HYBE 360

Aaron Ampudia
Christopher Den Uijl
Co-founders, Baja Beach Fest, Sueños Festival, Coca-Cola Flow Fest, Hulaween Fl, North Coast Music Festival, Dale MIXX, Collectiv Presents, La Familia Presenta

Chris Bray
President of Europe, Legends Global
Paul Sergeant
Executive vp of Asia, Middle East and North Africa, Legends Global
Meagan Walker
Group director of arena operations for Asia Pacific, Legends Global

Denis Desmond
Chairman, Live Nation U.K. and Ireland
Michael Coppel
Chairman, Live Nation Australasia
Kaori Hayashi
President, Live Nation HIP
Yongbae Cho
Steven Kim
Managing directors, Live Nation Korea

Phil Rodriguez
CEO, Move Concerts

“It was an honor to have Move Concerts Puerto Rico, headed by Alejandro Pabón, co-promote the Bad Bunny residency in San Juan,” Rodríguez says of the 30-date run of dates at Coliseo de Puerto Rico. “All kudos go to Bad Bunny and [manager] Noah Assad and their team. The concept and rollout of the record and the execution of the shows were flawless.

“I have never seen an event touch the heart and soul of a country as the residency did,” he adds. “Everyone in Puerto Rico was impacted by the event — both economically and in terms of pride.”

Favorite recent musical moment: “I’m going to cheat and name albums and shows that were brilliant and opened new directions in the Latin world: Rosalía’s album Lux, Ca7riel & Paco Amoroso’s album Papota and Latin Mafia live in concert. All pushed away from the norm and delivered big time.”

What the global music industry needs to know now about your company: “That we have the reputation, experience and resources to execute at every level. As an independent company, we are not beholden to ‘next-quarter results.’ We are passionate about what we do, and our focus is quality before quantity.”

The greatest challenge facing the global music industry: “In terms of the live touring side of the business, the next challenge, particularly for South America and other developing markets, will be the building of proper venues for live entertainment. This process has started with new venues built in various markets — Bogotá [Colombia] and Buenos Aires [Argentina]. More are in the pipeline. We have clearly seen a jump in ticket sales in those markets where the live experience has been elevated by the newer venues built.”

Nick DeLuco
Senior vp/GM, TD Coliseum, Oak View Group

Alejandro Soberón
Founder/CEO, OCESA
Jorge Cambronero
Executive promoter, OCESA
Leizer Guss
Festivals director, OCESA
Guillermo Parra
International events director, OCESA

Dieter Semmelmann
CEO, Semmel Concerts Entertainment

Simon Moran
Managing director, SJM Concerts

Geoff Jones
Chairman, Ticketek Entertainment Group (TEG)
Paul Dainty
President/CEO, TEG Dainty
Toby Leighton-Pope
Managing director, TEG Europe

Jasmine Young
Founder, West Africa Music and Film Festival; CEO, Vrtexx; director, The Warner Music/Blavatnik Center for Music Business at Howard University

Walter Kolm
Founder/CEO, WK Entertainment

Agencies

Emma Banks
Mike Greek
Marlene Tsuchii
Co-heads of international touring, CAA
Paul Franklin
Music touring agent, CAA

Jeff Craib
CEO, The Feldman Agency
Tom Kemp
President, The Feldman Agency
Joel Baskin
Senior vp, The Feldman Agency

Narcis Rebollo
Global president/CEO, Global Talent Services

Keith Naisbitt
Peter Pappalardo
Executive vps/heads of global touring, Independent Artist Group

Tomas Cookman
Partner, Magnus Talent Agency; Founder, Nacional Records/Latin Alternative Music Conference

Jon Ollier
CEO, One Fiinix Live

In 2020, in the midst of the pandemic, Ollier left his role at CAA to launch One Fiinix Live, taking with him one particularly notable client — Ed Sheeran.

Today, his U.K.-based firm is thriving. “In 2025, as a company, our roster sold in excess of 2.7 million tickets,” Ollier says. “Not bad for an independent.”

One Fiinix Live offers services including tour booking, management and digital marketing. With a focus on social impact, it has partnered with nonprofit organizations including London’s Single Homeless Project.

(The agency represents Sheeran worldwide excluding the United States and Canada, where he is booked by Wasserman Music.)

Favorite recent musical moment: “Watching Ado play a sold-out O2 Arena in London, which made her the biggest-selling Japanese artist ever to play the venue.”

What the global music industry needs to know now about your company: “As we work across stadium artists, several arena artists, theater artists as well as with some of the hottest breaking artists, we are probably the strongest, most experienced, truly independent option in the market.”

The greatest challenge facing the global music industry: “I am not being flippant here, but the threats to democracy and global peace are the biggest challenges we face. I can’t say this strongly enough: Live music needs the world to maintain peace to survive and thrive and we should all be doing what we can to defend this.”

Matt Bates
CEO, Primary Talent International
Rick Levy
Partner/board member, Primary Talent International
Pete Nash
Partner, Primary Talent International
Ed Sellers
Partner/agent, Primary Talent International

Alex Bruford
Will Church
Sarah Joy
Skully Sullivan-Kaplan
Partners/agents, ROAM

Amy Davidman
Devin Landau
Partners/agents, TBA

Neil Warnock
Co-head of U.K. music, UTA
Jules de Lattre
James Wright
Agents, UTA

Alex Hardee
James Rubin
Brent Smith
Executive vps/managing executives, Wasserman Music
Adele Slater
Senior vp, Wasserman Music
Anna Bewers
Vp, Wasserman Music

Lucy Dickins
Former global head of contemporary music and touring, WME
Rob Markus
Senior partner/agent/head of international, WME
Shannon Saunders
Head of Nashville international/agent, WME
Josh Javor
Partner/co-head of London music department, WME
Chris Payne
Agent, WME

Associations

Victoria Oakley
CEO, IFPI

“I’m really proud of publishing our annual Global Music Report,” says Oakley, whose organization, representing the recording industry worldwide, will issue its next comprehensive update on March 18.

“It is the definitive source of recorded-music market data across all regions and is the product of an extraordinary amount of hard work, expertise and dedication,” Oakley adds. “It also serves as a calling card for our industry — telling the stories and examining the trends behind the data.

“I spend a lot of my job traveling to different parts of the world to meet with people on behalf of our member labels and it’s one of the most effective documents I can bring with me.”

In February, IFPI honored Rosé and Bruno Mars’ “APT.” as its biggest-selling global single of the year for 2025 and named Taylor Swift its biggest-selling global artist for a sixth year.

Favorite recent musical moment: “A huge highlight was this year’s Grammys. It was such a pleasure to spend a full week celebrating music, as well as the talented people that make this industry the incredible thing that it is.”

What the global music industry needs to know now about your organization: “That we’re truly global. Just as the industry has connected with all parts of the world, we as IFPI and our national group network have to be present and engaged with the right stakeholders worldwide in order to be bold advocates for our record-label members.”

The greatest challenge facing the global music industry: “Streaming fraud continues to be a huge threat to the music ecosystem and diverts revenue away from legitimate artists. It is theft, and generative AI has industrialized it, enabling the mass creation of artificial content and making large-scale fraud cheaper, faster and harder to detect. We’ve taken legal action against the organizations behind the manipulation services but to stop fraud at scale, everyone at each stage of the chain must take definitive action.”

Helen Smith
Executive chair, IMPALA

John Phelan
Director general, International Confederation of Music Publishers

Manuel Abud
CEO, Latin Recording Academy

The Latin Recording Academy, Abud says, remains “committed to global expansion and to forging bridges of cultural exchange among music creators worldwide.”

In November, “we hosted a memorable 2025 Latin Grammy Week in Las Vegas … bringing together music creators from around the world to celebrate our flagship events, including the special awards, leading ladies of entertainment, best new artist showcase and Person of the Year, presented to Raphael. The week also marked the presentation of our inaugural Latin music educator award.

“Also, last September, we concluded our three-year agreement with the regional government of Andalucía [Spain] with Latin Grammy Celebra: La Música de Andalucía, featuring performances by 42 influential artists who paid tribute to the region’s legendary musicians and cultural icons.

“Additionally, the Latin Grammy Cultural Foundation awarded the Paco de Lucía Legacy Scholarship to young flamenco guitarist Marcos Gago Pino of Jerez de la Frontera, further reinforcing the Latin Recording Academy’s long-standing commitment to the region.”

Favorite recent musical moment: “Without a doubt, the standout moment was Bad Bunny winning both a Latin Grammy and a Grammy for album of the year with DeBÍ TiRAR MáS FOToS. This historic achievement marks a true watershed moment for Latin music as it is the first time a Spanish-­language album has claimed the Grammy for album of the year.”

What the global music industry needs to know now about your organization: “The Latin Recording Academy is composed of more than 6,000 industry professionals from Ibero-America across 52 countries, representing a wide range of genres and creators. [Our] partnership [with the regional government of Andalucía] led to the first edition of the Latin Grammys held outside the United States in Seville in 2023.

“According to the latest Economic and Reputational Impact Study conducted by the global communications and corporate affairs company ATREVIA released last November, between 2023 and 2025, our partnership with the government of Andalucía has generated a total accumulated impact of more than 95 million euros for the region. It has also enabled Andalucía to establish itself as an international epicenter of Latin music in Europe.”

The greatest challenge facing the global music industry: “Among the most important conversations today is understanding the role of AI as a tool — and how to establish the right guardrails to ensure it is used responsibly. Our job is to protect the rights of all music creators. At the same time, music creation has always embraced technological innovation, and AI is the latest advancement with the potential to expand opportunities for creators. We are embracing AI while remaining mindful of the risks, ensuring that human creativity always stays at the heart of music-making.”

Charlie Lexton
CEO, Merlin

Rights Organizations

Honorees in this sector were chosen solely by Billboard’s editorial team and not through industry nominations.

Jose Luis Sevillano
CEO, AIE

Gadi Oron
Director general, CISAC

Tobias Holzmüller
CEO, GEMA

Peter Leathem
CEO, PPL U.K.

Andrea Czapary Martin
CEO, PRS for Music

Cécile Rap-Veber
CEO, SACEM

Cristina Perpiñá-Robert
General director, SGAE

Frederick Tumegård
Interim CEO, STIM
Lina Heyman
General counsel, STIM

Contributors: Katie Bain, Lars Brandle, Eric Renner Brown, Anna Chan, Ed Christman, Leila Cobo, Hannah Dailey, Thom Duffy, Chris Eggertsen, Lyndsey Havens, Gil Kaufman, Carl Lamarre, Jason Lipshutz, Joe Lynch, Taylor Mims, Melinda Newman, Jessica Nicholson, Sigal Ratner-Arias, Isabela Raygoza, Kristin Robinson, Jessica Roiz, Dan Rys, Michael Saponara, Thomas Smith, Richard Trapunski, Andrew Unterberger

Methodology: Nominations for Billboard’s executive lists open no less than 150 days in advance of publication, and a link is sent to press representatives by request before the nomination period. (Email thom.duffy@billboard.com for inclusion on the email list for nomination links and for how to obtain an editorial calendar.) Billboard’s Global Power Players are limited to executives, in sectors shown, whose primary responsibility is outside the United States. Honorees were chosen based on factors including, but not limited to, nominations by peers, colleagues and superiors, as well as music industry impact of clients cited in nominations. Industry impact is measured by metrics including, but not limited to, chart, sales and streaming performance as measured by Luminate and social media impressions using data available as of Jan. 15.

This story appears in the March 7, 2026, issue of Billboard.

The light is still shining on Ariana Grande‘s album Eternal Sunshine two years later, with the Recording Industry Association of America unveiling a platter of new certifications for the project on Sunday (March 8).

As unveiled on the second anniversary of the pop star’s Billboard 200-topping seventh studio album, Eternal Sunshine has been certified double Platinum — meaning it’s sold 2 million equivalent units since it dropped in 2024. Two of the project’s singles, “Yes, And?” and “We Can’t Be Friends (Wait for Your Love)” — both of which topped the Billboard Hot 100 — also earned new accolades, with the former going double Platinum and the latter going quadruple Platinum.

Also from Eternal Sunshine, “Intro (End of the World)” and “Supernatural” received their Platinum certifications from the RIAA on Sunday as well.

Grande’s most recent LP first went Platinum in September 2024, just a few months after it first dropped. Two years later, the Grammy winner is joining her fans in celebrating the album’s second birthday, writing on Instagram recently, “happy two years of eternal sunshine. my favorite project yet. thank you for your love, i love you endlessly…”

She’s now gearing up to finally embark on a tour in support of the album, kicking off in June and wrapping in August with shows in Los Angeles, New York City, London and more. After it concludes, Grande will likely step away from performing live for the indefinite future, as the Wicked actress has previously called the trek her “last hurrah … for now.”

“I feel very privileged and grateful to learn that there can be room for different creative endeavors … The last 10 or 15 years will look very different to the ones that are coming up,” she told Amy Poehler in November. “I do know that I’m very excited to do this small tour, but I think it might not happen again for a long, long, long, long time. So I’m going to give it my all.”

Like a number of their American and U.K. contemporaries, Scottish rockers Franz Ferdinand are not happy about their music being used to promote the current Israeli/U.S. war against Iran. Specifically, the group lashed out over the weekend when their 2004 Billboard Hot 100 No. 66 hit, “Take Me Out,” was featured in a video posted by the Israeli Defense Forces, saying it was used without their consent.

According to Rolling Stone, in a since-expired Instagram Story, lead singer Alex Kapranos shared the IDF video, which features footage of fighter jets and explosions amid images of an Israeli soldier celebrating the country’s recent attacks on Iran amid footage of fighter jets taking off and dropping bombs, with the caption: “Operation Roaring Lion — this is how it’s done.”

In reaction, a furious Kapranos reportedly replied, “these warmongering murderers are using our music without our consent. This makes us both nauseous and furious. Kind of typical though, isn’t it? To strut up and take what isn’t theirs with a vile arrogance…” At press time a spokesperson for Franz Ferdinand had not returned Billboard‘s request for comment on this story.

The U.S. and Israel launched a joint attack on Iran on Feb. 28, which Donald Trump called Operation Epic Fury and Israeli Prime Minister Benjamin Netanyahu referred to as Operation Roaring Lion. Iran has since retaliated with missile and drone strikes against Israel and U.S. bases and allies in the region, including Azerbaijan, Bahrain, Iraq, Jordan, Kuwait, Oman, Quatar, Saudi Arabia and the United Arab Emirates.

With muddled, ever-changing explanations from Trump and U.S. officials about the reasons for the war — citing everything from an alleged imminent threat to the U.S., to a mission to destroy Iran’s military and alleged nuclear weapon stocks to regime change — the war has quickly sparked fears of a potentially sprawling, global conflict, as well as economic panic over rapidly spiking oil prices.

Franz Ferdinand’s Kapranos is just the latest musician to take issue with an official state video using their music without sanction. In tearing a page from his good friend Trump’s frequent unauthorized use of popular music to promote his political agenda, Netanyahu’s government is sparking a similarly outraged response in using popular music to hype the war that has once again sent his country’s citizens running to bomb shelters just months after a shaky peace agreement with militant group Hamas.

Last month, Radiohead were incensed when the U.S.’s Immigration and Customs Enforcement agency posted a video on the agency’s X account on Feb. 18 cued to the group’s 1997 OK Computer track “Let Down” featuring images of Americans and the caption, “American citizens raped and murdered by those who have no right to be in our country. This is who we fight for. This is our why.”

Radiohead responded in a statement to Billboard that read, ““We demand that the amateurs in control of the ICE social media account take it down. It ain’t funny, this song means a lot to us and other people, and you don’t get to appropriate it without a fight. Also, go f–k yourselves.”

The Trump administration also drew the ire of Kesha, who lashed out at Trump recently for what she called the unauthorized use of her song “Blow” in a White House TikTok video. In an Instagram Story posted on March 2, she accused the administration of using her song to “incite violence and threaten war,” adding that she does not approve of her music “being used to promote violence of any kind” and that this is “the opposite of what I stand for.”

The IDF appears to be doubling-down on using music in their promotional videos as well, including one posted on Sunday (March 8) touting its reported successes striking Iranian targets cued to the 1993 Los Del Rio Billboard Hot 100 No. 1 smash “Macarena.” An earlier video from Friday (March 6) used a reference to the workout tracking app Strava and a snippet of the 2002 Coi Leray single “Players” to promote Israeli bombing sorties on Iran. At press time, spokespeople for Leray and the IDF had not returned Billboard‘s request for comment.

Over the past 30 years, few ­executives have done more to promote and champion Black British music talent than Kanya King. While names like Stormzy, Central Cee, Little Simz and Dave have risen to arena and festival headliner status, King — the co-founder and chief executive of the MOBO (Music of Black Origin) Awards — has been plugging away to create new pathways for artists.

In its earliest days, the MOBOs was just “fighting to be acknowledged,” she tells Billboard. Now? Black music and British acts are at the “absolute center of global culture,” says King, who received a CBE (Commander of the Order of the British Empire) on the 2018 Queen’s Birthday Honours list for her services to music and culture. (She had previously received an MBE — Member of the British Empire — in 1999.)

The MOBOs ceremony, first held in November 1996, was the first in Europe to celebrate Black music and has become a staple of the awards season calendar. Performers over the years include Rihanna (2006), Lauryn Hill (2005), Sade (2000) and Destiny’s Child (1999).

This year’s ceremony, taking place at Co-op Live in Manchester, England, on March 26, is poised to be similarly star-studded. Grammy Award winner Olivia Dean will perform alongside Tiwa Savage and FLO; the former leads nominees this year with four nods. Beyond general categories, specific genre-led fields celebrate local genres such as grime (a U.K.-specific fusion of rap and garage) as well as global sounds including hip-hop, R&B and jazz.

This is, King says, just a small piece of what is set to be a yearlong celebration of the MOBOs organization. The event itself will be broadcast on Amazon Music U.K.’s Twitch channel for the first time and follows a partnership with popular pub chain Greene King to open the House of MOBOs, a community hub in south London. A documentary will follow, alongside a new book by King and an exhibition.

With the 2026 ceremony approaching, King discussed the challenges she overcame to set up the iconic night, how the industry responded and why the outlook for Black musicians and executives has changed dramatically during her time in the industry.

How do you feel about the MOBOs reaching its 30th anniversary?

Thirty years isn’t just a milestone but a testament to endurance and the imagination and power to shape Black culture far beyond the U.K. When I started the MOBO Awards, there was no real infrastructure or clear pathways for Black music here. Institutional recognition was virtually nonexistent. To be standing here three decades later, still influential, still evolving and still driving the conversation feels deeply emotional and incredibly affirming. It reinforces the importance of our original mission and the incredible work the team and our communities have done.

What special plans are in place to mark the 30th anniversary?

We have a whole year of activity planned for the MOBOs’ 30th year. The most exciting new development is the opening of the House of MOBOs. We wanted to mark the anniversary by creating a physical space that is deeply rooted in, and actively celebrates, the communities that have shaped the MOBOs. It’s essentially a cultural hub — a bit like a members club but without the fee — where people can come together to celebrate, collaborate and build.

Huge names such as Destiny’s Child and Rihanna have performed at the MOBOs over the years. What do you look for when booking the lineup for the show?

We’re looking for someone who is going to be creative and collaborative but also represent that broad genre base. For example, this year we’ve got the 25th anniversary of grime music, so we’re honoring that with a special medley. That’s a genre that MOBOs have supported since the start, way before many mainstream establishments. Similarly, we’ve championed African music since our inception and then introduced an African music category in 2005. We just like to get the breadth of all the genres, and I feel like with the lineup thus far, this year is going to be a real momentous year for performances.

The MOBO brand has become so much more than just one night. Why was that important to you?

We’ve always felt that we’ve had social consciousness and responsibility as well as the music and awards platform. We’ve been that launchpad and cultural amplifier. We’ve helped artists move from underground to mainstream and from local to global. We’ve validated some of the genres that were sometimes often dismissed. Whether that was early U.K. R&B, garage and grime to Afrobeats. In many cases, the MOBOs gave artists their first national platform at a time when others wouldn’t.

For 2026, it’s not about nostalgia alone. It’s fundamentally about legacy. We are celebrating what we have built and honoring the pioneers who made it possible, but just as importantly, we are spotlighting the new generation who are carrying the battle and the culture forward. The focus is on shaping what comes next with intention, ensuring that the brand continues to evolve.

What do you remember about pulling together the first ceremony in 1996?

That we had an incredibly short amount of time. When Carlton Television and the ITV Network gave us the broadcast slot, they essentially said, “We have good news and bad news. Good news: We’re giving you the slot. Bad news: We have very little budget and you have six weeks.”

But when you get an opportunity like that, you just have to grab it. I put everything on the line; there was no plan B. I had been talking about this for so long that I was sick of my own voice and knew I had to put my money where my mouth was. I remortgaged my home and resolved that it had to work.

What stands out most is when [then-future U.K. Prime Minister] Tony Blair turned up. His team initially said he couldn’t make it, but I’d kept them updated with news such as Lionel Richie confirming to attend. Two days before, they changed plans to make sure they were at the event. There’s a fine line between being a pain and being persuasive, and I feel like I judged it quite well.

I also vividly remember my late mother, who always wanted me to be a teacher, jumping the queue to meet Tony when he arrived to tell him what an amazing, hardworking daughter she had. I think she was trying to get me a “proper job.” It wasn’t until I received the MBE in 1999 that she truly believed things would be OK.

Did you feel the wider industry was supportive of the MOBOs back then?

The climate was completely different. There were outliers who went out on a limb to help us, but Black music was broadly seen as too risky. I was constantly told, “Why are you wasting your time? Black music doesn’t sell. The media will never get behind it. These events never start on time, they’re disorganized.” I heard it all, again and again. However, the talent was a completely different story — they were crying out for this platform.

How has the landscape changed for Black artists and executives?

The most profound change is that Black music has moved from the margins to the absolute center of global culture. In the early days, we were just fighting to be acknowledged. Today, the genres that the MOBOs champion dominate charts, streaming platforms, fashion and digital culture worldwide. This is an extraordinary transformation.

Artistically, the confidence of U.K. talent has evolved hugely. There is far less imitation, much more originality, and artists are deeply rooted in their identity, showcasing their cities and heritage. African music, in particular, is an unstoppable force. Production values are higher, storytelling is stronger and the genre-blending is so much more adventurous. I also love hearing so many local accents in music and not feeling like they have to change for the industry.

In 2009, the MOBOs were also one of the first major U.K. awards ceremonies to take the show outside of London, a move now adopted by the BRIT Awards and Mercury Prize.

I remember the complete uproar from the industry when we first mentioned taking it out of London. People said, “Good luck with that; it’s never going to work.” They were so used to the same central London venues. We went to less obvious places, but we could see the deep love for music in those cities. We’ve been to [English cities] Leeds, Coventry and Sheffield, and it’s wonderful to see the cultural imprint we’ve left. People in Liverpool, for instance, have told me that the resurgence of its Black music scene has been a direct result of the MOBO Awards being hosted there [in 2010 and 2012]. I have always tried to use the MOBOs platform for a wider impact and purpose, and traveling has enabled us to make a significant economic, cultural and social impact in those regions.

How has your own leadership style evolved over the years?

I’ve grown from a determined founder, operating largely on sheer drive, into a more reflective, strategic and resilient leader. In the early years, leadership meant resistance and pushing back against structures that simply didn’t value Black culture. Over time, it’s evolved into creating sustainable pathways for the next generation. I’ve learned to collaborate more deeply, to trust my instincts but also to listen very carefully to the talent and the communities we serve. Mentorship has also become central to my leadership, because legacy isn’t just about what you build, it’s about who you empower.

What does the future hold for the MOBOs?

The next chapter for the MOBOs is about deeper impact, broader reach and building more meaningful cultural infrastructure, not just bigger stages. You will see more citywide cultural programming through the MOBOs Fringe Festival, stronger links with schools and expanded creative pathways through Mobolise. The House of MOBOs will continue to be a vital hub for communities and partners to connect, collaborate and create. The main show will be livestreamed with Amazon Music, making it available to a wider audience. It just reflects how much the MOBOs has grown and how our partnerships now mirror our global ambition.

This story appears in the March 7, 2026, issue of Billboard.