bannervova.blogg.se

Now that the dust has settled on UMG’s public listing, Grainge can focus solely on running the world’s largest music company - and business has been booming. And it’s clear that despite all the transformation that has occurred, more is needed. This year, though, we decided to show the leadership of the business as it is, not how we wish it would be. In previous years, we expanded this list to spotlight the industry’s efforts toward diversity and inclusion, as well as its overall growth. (Those who appear in the top 30 are also ranked in their relevant sectors.) We distilled the number of executives honored at each company to those with the most power. Our format has also changed, focusing on an industrywide top 30 ranking of executives, followed by rankings of the top players in key business sectors. (Our methodology is detailed at the end of this list.) The team that compiled this list relied on data anywhere and everywhere it was available, with an emphasis on current market share, revenue, Billboard Boxscore tour grosses and year-end charts and rankings, which are powered by Luminate. After much deliberation, Billboard’s editors and reporters have decided to hold a true mirror up to the industry, pinpointing the executives at 100 companies and organizations that exercised the most influence over the past 18 months. This year, change has also come to Billboard’s annual power list, which reinstates its original title, the Power 100. It is a global business, more than ever.” As Sony Music Group chairman Rob Stringer tells Billboard in this issue, “I don’t take for granted any potential A&R source from around the world now. The format’s ability to connect artists and audiences across different territories is a key reason that labels are opening offices throughout Africa, South Asia and other regions as A&R executives scour the world for the next international stars. Of course, the global success of Latin and K-pop artists wouldn’t be possible without the reach of streaming, which continues to change music. The Puerto Rican superstar has been guided by Noah Assad, an independent manager turned multisector mogul who is Billboard’s Executive of the Year.

For the first time in 66 years, the top album on the year-end Billboard 200 was the all-Spanish-language release Un Verano Sin Ti, Bad Bunny’s fourth album, which also earned him the top position on the Billboard Global 200 Artists recap for 2022. The industry has talked about globalization for years, but never has it been so evident as in 2022.

No doubt TikTok was also on the mind of Lucian Grainge when he wrote to Universal Music Group staffers in his annual New Year’s letter - a document pored over and dissected by much of the industry - of the need for a new business model to better serve music creators and the companies that support them. Established players left CEO positions - Motown’s Ethiopia Habtemariam Universal Nashville and Warner Nashville chieftains Mike Dungan and John Esposito, respectively Warner Music Group’s Stephen Cooper was succeeded by former YouTube chief business officer Robert Kyncl, whose global perspective and tech-centric focus seem to make him well suited to navigate a business grappling with the ever-growing power of TikTok. That’s a condition most of us in the industry understand well: the push and pull of business as usual alongside the challenges of transformation.Ĭhange was afoot. As the disruption of the pandemic began to ease last year - with artists returning to the road in force and much needed revenue beginning to flow again - music executives began to talk about the new normal in a business that exceeded $60 billion in 2022, according to Billboard’s estimate of total revenue generated by recorded music, publishing and concert grosses.