The British Phonographic Industry is celebrating 50 years in 2023.
According to Youtube Music CEO Lyor Cohen in a Financial Times interview , the UK music scene is the most interesting right now.
The music mogul relocated his offices along with his family to London Town as they set up shop for YouTube’s next phase in music development.
He said, “If you cut a French person open, they bleed cinema. If you cut a person from the UK open, they bleed music. So why not be here? And the best music is coming out of the UK.”
Already YouTube Music has hit the ground running with their UK operations as they partner with LIVE to launch “Re:Boot Live”. Which is a series of workshops to support digital education for music venues and post coronavirus economic rebuild.
In referencing the African, UK rap and drill music scene Lyor said. “That’s going to take it to an even higher level. The risks that people are taking here are much more than in other places.”
Among the acts in the UK to top the YouTube Music charts with African or Drill Music influences are Stormzy Rema, Wiz Kid, Dave, Haadie One, Digga D, Central Cee, Shayboo. and Dutchavelli
Other major acts with distinct Jamaican dancehall influence include platinum rapper Stefflon Don, and Jorja Smith whose debut studio album, Lost & Found, peaked at number three on the UK Albums Chart.
WMV caught up with music certification company BPI’s director of communications Gennaro Castaldo who shared insights on the role of the BPI in the U.K. and how it is shaping global music.
What motivated the formation of the British Phonographic Industry (BPI), and what have been its primary objectives over the years?
Largely the need to create a forum to represent the interests of UK record companies and labels and of the wider recorded music sector. In particular to:
- Protect and promote music copyright and intellectual property
- Lead collective efforts on anti-piracy
- Collect music consumption and trends data and report on this
- Promote British music and exports
- Create a forum for industry events and awards
As the BPI celebrates its 50th anniversary, what would you say have been some of the most significant achievements of the organization?
Helping to create a regulatory framework around music in the UK that has enabled UK record labels to thrive, and thus the artists signed to them and the fans who enjoy the music that is produced.
Highlighting and amplifying the work and innovation of record labels. Also establishing and growing The BRIT Awards into the biggest night in music and a world-class showcase to promote British music, artists and production to an increasingly global audience. Also helping to reduce the damaging impact of digital and physical piracy. Promoting British exports through international trade missions to markets such as China, India and Brazil, and by successfully lobbying for and then managing the Music Exports Growth Scheme (MEGS), which has achieved a 13-1 return for exports of independent music (approx.. £55m).
Give an example of how the BPI supported the growth and development of the UK music industry over the years?
The BPI was at the forefront of successful lobbying for copyright to be extended on music recordings in the UK from 50 to 70 years. The new copyright laws, which were ratified by the EU in 2011 and implemented in the UK two years later, meant significant repertoire by British legends such as The Beatles and The Rolling Stones, as well as by lesser-celebrated domestic artists, remained in copyright for another two decades. Notably in the streaming age, this has generated additional revenue from back catalogue that is invested by record companies in new artists and music.
What role has the BPI played in promoting UK music abroad and establishing British artists on the global music scene?
Promoting British exports through international trade missions to markets such as China, India and Brazil, and by successfully lobbying for and then managing the Music Exports Growth Scheme (MEGS), which has achieved a 13-1 return for exports of independent music (approx.. £55m). Also organising annual events such as the LA Sync Mission while being a leading participant in The British Embassy at SXSW.
The Music Export Growth Scheme (MEGS) was launched in 2014 by the BPI and UK Trade and Investment to help small and medium-sized independent music companies promote their artists overseas. The scheme makes available grants ranging from £5,000 to £50,000 to assist UK-registered independents with international artist marketing campaigns. Among the many dozens of artists who have been helped by MEGS are Beabadoobee, Dave, Ghetts, Rina Sawayama, Self Esteem, Wolf Alice and Yard Act. The scheme generates an impressive £13 for every £1 invested and the BPI is lobbying for the Government to double its size to boost exports of UK music.
For a number of years, BPI has hosted global trade missions for its members to a variety of music markets around the world. This includes an annual sync trade mission with the Music Publishers Association to Los Angeles to support the demand for music created by British songwriters and recording artists. Other trade missions have taken BPImembers to countries such as Australia, Brazil, Canada, China, India, Japan, Nigeria and South Korea.
How has the BPI responded to the challenges posed by digital music distribution and the rise of streaming services over the past decade?
Working hard to enable and promote growth of the legal downloads and streaming markets and closing down piracy. Lobbying government and tech forms hard in support of this. Working with our record label members to help license their music to streaming DSPs and third party platforms.
What steps has the BPI taken to address issues related to piracy and copyright infringement in the music industry?
Pressing tech platforms such as YouTube to respect and support the value of music, increase licensing of music and grow the music market. Sending over 1 billion delist notices to YouTube and other search engines
How has the BPI worked with government and other industry bodies to promote the interests of the UK music sector and secure a favorable regulatory environment?
BPI has championed the UK’s recorded music community for the past 50 years, safeguarding the rights of its independent and major record company members and the artists, performers and label members of UK music licensing company PPL. The BPI has battled on behalf of its record company members and their artists, and fought to address industry losses brought about by piracy. Following lobbying by BPI, the law was changed through the introduction of the Copyright Designs and Patent Act 1988, and was at the forefront of campaigning for copyright to be extended on music recordings in the UK from 50 to 70 years.
BPI has been a leading industry voice on calls to address the so-called “value gap”, which enables user-generated platforms to host unlicensed content without being liable for infringement and results in the underpayment of royalties compared to what fully licensed platforms are paying.
What role does the BPI play in supporting emerging talent in the UK music industry, and what programs or initiatives does it have in place to achieve this?
Creating a regulatory, business and exports environment where record labels can thrive and do what they do best – sign and nurture talent and new music and market it globally. Also create a global platform and social media engagement through the BRIT Awards and Mercury Prize.
Looking ahead, what are the main challenges and opportunities that the BPI sees for the UK music industry in the years to come?
Realising the full value of music – where piracy is further diminished and third parties and also tech start ups, such as those looking to develop AI, licence music and pay fairly for its use. Immersive and interactive technology such as AI and virtual reality are exciting opportunities but will also present challenges if not approached in the right and with the right support of government.
How does the BPI plan to continue to evolve and adapt to changes in the music industry and ensure its continued relevance in the years ahead?
By ensuring that we continue to create an environment in which our members and recorded music can thrive and grow. They will be excited by the potential that AI and other immersive technologies offer to promote creativity, but human curation must be supported. We must work hard to promote UK music exports and artists in the competitive global music market, and as part of this to expand the Music Export Growth Scheme so that many more independent artists can be supported. We must also promote music education and expand the talent pipeline across the UK. We must also ensure that we are advocates for an industry that is equitable and inclusive.
Hip Hop:
What has been the BPI’s contribution to the growth and development of hip hop music in the UK over the years?
I would say this is really more a question to put to some of our record label members, who have obviously promoted hip hop alongside other genres. The BPI has probably adopted a more general approach by seeking to create and sustain an environment where the genre has been able to grow its audience and engagement, include through the BRIT Awards and Mercury Prize. We have also put out reports to help generate wider media and consumer interest in the genre – and we have a new announcement coming on it soon.
How has the BPI worked with hip hop artists and labels to promote their music and support their careers?
In a number if ways – but mainly by supporting labels more generally, and we recently staged one of our Insight Sessions to improve awareness sand engagement.
What initiatives has the BPI undertaken to address issues of representation and diversity within the UK hip hop scene?
There is a great deal going on, including through the UK Music Diversity Taskforce in which we participate. We work with our BRITs Diversity Advisory Group (which we assembled) – now our Equity and Justice Advisory Group (EJAG) to address the issue of #BRITsSoWhite in 2016 – and now the BRITs Voting Academy is more diverse and representative, and we have seen more rap and hip hop artists receive nominations and win BRIT Awards and perform also. The Mercury Prize has provided an even more compelling platform for rap and hip hop artists – when you look at the recent shortlists and winners, including Skepta, Dave and Little Simz.
A rap/hip hop category was added to the BRIT Awards two years ago to better spotlight the genre and its artists and new talent
Reggae and Dancehall:
- How has the BPI supported the promotion and growth of reggae and dancehall music in the UK over the years?
I would say more in creating an environment where all labels and artists across many genres can thrive – rather than specific actions to promote reggae or dancehall – or other genres as a whole.
What initiatives has the BPI undertaken to address issues of representation and diversity within the UK reggae and dancehall scenes?
We are active participants in the UK Music Diversity Taskforce – supporting its 10 Point Plan, and we also draw on the advice and support of our Equity and Justice Advisory Group (EJAG) to help make the industry more diverse, equitable and inclusive. These however are general approaches to encouraging and promoting diversity, representation and inclusion broadly across ats of music rather than for dancehall and reggae specifically.
Do certifications get released in Fridays only or whenever you get the tally?
We tend to use Friday as the announcement day for new certifications and updates each week
