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Mable | Hayley Louisa Brown © contents acknowledgements methodology next steps sectors figures introductions Jobs Music Spend Number ofMusicTourists Music Music Representatives Recorded Music Music Live Music Music Creators Jamie Njoku-Goodwin|ChiefExecutive, UKMusic Caroline DinenageMP|MinisterforDigitalandCulture ...... 35 33 29 28 27 26 24 23 20 19 16 14 11 6 5 4 contents.

introductions. Caroline Dinenage MP | Minister for Digital and 4 Jamie Njoku-Goodwin | Chief Executive, UK Music 5 figures. 6 sectors. Music Creators 11 Live Music 14 Music Publishing 16 Recorded Music 19 Music Representatives 20 Music Retail 23 music tourism. 24 Number of Music Tourists 26 Music Tourist Spend 27 Music Tourism Jobs 28 next steps. 29 methodology. 33 acknowledgements. 35 introductions. The UK music is at the £1.57 billion Culture Recovery Fund 1 heart of our arts and cultural sector, to help the sector weather the which is the envy of the world. It is impact of coronavirus and protect a key national asset and something music venues, festivals, and our vital that should make us proud. cultural assets. Music enriches all of , but it also makes a huge contribution to Many organisations have been able our . As this year’s Music to access grants and By Numbers report reveals, the loans as part of the biggest -off industry generated £5.8 billion for investment in UK culture. Funding the UK economy in 2019 - up 11% was also made available to support on the previous year. jobs and help afloat. CAROLINE DINENAGE MP Minister for Digital and Culture British stars helped The investment shows our up to £2.9 billion in 2019 - a 9% commitment to music and . increase and a fantastic overseas It will also help nurture the talent card for Britain. Behind pipeline so that the stars of the every artist, and is future can break through. Over the an army of talented professionals years, UK Music has established a who their part in the industry’s reputation for producing reliable . data that brings into sharp focus the economic importance of the , producers, artist . managers, publishers, recording studios, , promoters, UK Music reports help everyone crew, record labels, collective involved in policy-making, the sector organisations are all and Government better understand part of an industry that supports the industry’s ecosystem. 200,000 jobs. am delighted to introduce However, we know what an this year’s Music By Numbers immensely tough year 2020 has report which underlines just how been for the music industry as important the UK music industry is a result of COVID-19 which has to our country. presented significant challenges for the sector.

That is why the Government stepped in with an unprecedented

4 Welcome to our 2020 Music By paused. The cancellation of gigs and Numbers report, which is my first festivals laid bare how reliant local as UK Music Chief Executive and are on music venues comes in a turbulent year for our which bring to businesses industry. from taxi firms to take-away stands.

We have produced these reports The music industry suffered a annually since 2013, analysing devastating blow this year. But I am data to a picture of how the very proud of how it has worked different sectors of our industry hard to help itself, setting up together to deliver economic hardship funds for those hit by the growth and jobs. pandemic and demonstrated some JAMIE NJOKU-GOODWIN incredible creativity and resilience Chief Executive, UK Music Our music industry is a key national to survive. We are also extremely asset. It contributes £5.8 billion a grateful for the Government year to the economy, generates support packages, which have made £2.9 billion in exports, and supports a big difference. The breadth of this almost 200,000 jobs. Beyond the support was a welcome and much- economic impact, it creates vast needed demonstration of how social, educational and mental much our industry is rightly valued health benefits. It boosts Britain’s by Government. standing in the world, bringing a soft power that few other industries Music By Numbers shows can boast. how vibrant, -growing and commercially successful our Year-on-year growth had put industry was before the pandemic. our industry firmly on for Our task now is to ensure it can be continued growth and to be one again. of the great British success stories of the coming decade. However, I am convinced we have the people, COVID-19 delivered a catastrophic the drive and determination to blow and the impact has been felt up our industry once more and by all parts of our industry. become a key part of our country’s post-COVID-19 economic and We’ve also seen how vital music is cultural revival. That is a shared to our wider society. The lockdowns endeavour we can all work towards. threw into sharp focus the health benefits of music-making as I hope you enjoy our report activities like in a , would like to thank everyone for playing in an orchestra or band were their support of UK Music.

5 2figures.

MUSIC INDUSTRY CONTRIBUTED £5.8 BILLION TO THE UK ECONOMY

£2.9 BILLION GENERATED IN REVENUE 197,168 FULL-TIME JOBS SUSTAINED

6 In 2019, the UK music industry but also maintain its place as a concluded that up to 85% of Live contributed £5.8 billion to the global leader in an increasingly revenue will be lost, revenues UK economy, an 11% increase competitive post-COVID-19 world. have been to zero since from £5.2 billion in 2018, marking March. Moreover, according to a new high following a decade The music industry is a UK Music survey 65% of music of sustained growth that has interconnected and this has creators’ income will be lost outperformed the UK economy*. produced a domino effect as this year, rising to over 80% for It generated £2.9 billion in COVID-19 and the restrictions those most dependent on live exports, an 9% increase from £2.7 connected to the pandemic performance and billion in 2018. rose have taken hold. The absence work. For these performers, many by 3% to 197,168 in 2019 from of live music and touring have seen their income reduce to 190,935 in 2018. deprives performers (and their zero since March. representatives), venues and Live music was particularly strong, promoters of income. Songwriters Most music creators are self- but all sectors contributed and music publishers also lose live employed. The industry relies significantly to the music performance income. The closure very heavily on and industry’s growth in gross value of shops, bars and the self-employed, many of whom added (GVA) in 2019. deprives performers, writers, have fallen through the cracks labels and publishers of public during 2020, not qualifying for The UK has successfully exported performance income. the support that has been made music for decades and exports release schedules are impacted available. contributed very significantly in by an inability to move around to 2019. This success, however, is create and promote new material, The UK music industry is a not a given. Streaming platforms which is especially challenging commercially successful sector make access to the global music for new artists launching their that was growing before the market more accessible and careers. Recording studios carry a pandemic, and can grow again. therefore more competitive. heavy burden of costly overheads Music has always been a British combined with a devastating drop success story and a national While this report focuses in income, with many facing an asset, that delivers at home and primarily on the achievements uncertain future. It is not yet clear abroad. There is no reason why of the music industry in 2019, how long the impact of COVID-19 that cannot continue, but that we cannot ignore the turbulent will last. future depends on us saving the events of 2020. The music music ecosystem that we have sector right across the UK has Alongside gathering data on and supporting individual music been dealt a hammer blow by 2019, we have also monitored creators and freelancers especially COVID-19. In facing the many where possible the impact of during this critical period. challenges of COVID-19, the UK COVID-19 during 2020. We have industry must not only recover, * https://www.ons.gov.uk/economy/grossdomesticproductgdp/

7 * † Table 1: Thematic Grouping The definitions in this report GVA EXPORTS Sectors Sub-Sectors were developed in 2013, but Music Creators have been updated periodically. £5.8 BILLION £2.9 BILLION The definitions remain the same as the 2019 report. Table 1 vocalist demonstrates the relationship producer between what UK Music has Music Creators engineer identified as Sectors (Thematic

Live Music organisers Groups) and Sub-Sectors Live Music music promotors (Elements of the Core) within the music agents music industry. The sub-sectors Music Publishing production services for live music that are used in this definition ticketing agents - proportion of their activities involved with live music are united by their relationship to venues and arenas - the proportion of their activities involved the commercial assets of the UK Recorded Music with live music music industry. We have identified Music Publishing publishing rights holders these commercial assets as shown Music Representatives publishing companies in Diagram 1. Recorded Music recorded rights holders record labels There are two types of Music Retail physical & relationships to these commercial digital distribution assets that justify inclusion in the recording studios core of the music industry. For the purposes of compiling ‡ Music Representatives collective management organisations these figures we at the EMPLOYMENT 197,168 music managers First – economic activities that industry as separate sectors, music trade bodies create these commercial assets. but in reality there is a lot of 34,000 music accountants An example is the creative process overlap and inter-dependency music lawyers of composing, performing or between sectors. Every part of Music Retail retail of musical instruments recording music. the music industry contributed manufacture of musical instruments to generating the value of £5.8 digital music retail Second – economic activities billion to the economy in 2019. 142,000 physical music retail where the primary focus is upon the steps necessary to bring these assets to a position where they Diagram 1: Commercial Assets 11,300 5,400 are able to be distributed and transacted with consumers and businesses in .

* Asset 1: Asset 2: Asset 3: Asset 4: Gross Value Added (GVA) is the grand total of all revenues, from final and (net) subsidies, which are incomes into businesses. Those incomes are A A (master) recording of A live musical An artist themselves then used to cover expenses (wages & salaries, dividends), savings (profits, depreciation), and (indirect) taxes. and/or the music composition performance (as a brand, reputation † Total export revenue equals the total receipts generated from music within all sectors from outside the UK. or image) ‡ Employment is measured as full-time equivalency.

8 9 GVA* EXPORTS† £5.8 BILLION £2.9 BILLION £463 Million £26 Million £170 Million £2.7 Billion £1.2 Billion £406 Million Music Creators £613 Million £518 Million Live Music

£524 Million Music Publishing

Recorded Music

£86 Million Music Representatives £1.3 Billion £712 Million Music Retail

For the purposes of compiling ‡ these figures we look at the EMPLOYMENT industry as separate sectors, 197,168 but in reality there is a lot of 34,000 overlap and inter-dependency between sectors. Every part of the music industry contributed to generating the value of £5.8 billion to the economy in 2019. 142,000

11,300 5,400 1,368

3,100

* Gross Value Added (GVA) is the grand total of all revenues, from final sales and (net) subsidies, which are incomes into businesses. Those incomes are then used to cover expenses (wages & salaries, dividends), savings (profits, depreciation), and (indirect) taxes. † Total export revenue equals the total receipts generated from music within all sectors from outside the UK. ‡ Employment is measured as full-time equivalency.

9 Arlo Parks | Charlie Cummings © 10 Arlo Parks | Charlie Cummings © 10 3

music creators. sectors earnings foramajorityofmusic however, indicativeofthe The largenumbersarenot, GVA, exportsandemployment. releasing artistsallcontributedto an increasingnumberofself- ,togetherwith Fraser TSmith,Jinand Capaldi, CarlaMarieWilliams, Sheeran, Dave,The1975,Lewis producers suchasDuaLipa,Ed Artists, songwritersand £1.1 billionin2018. billion inexports,comparedto exporters, contributing£1.2 significant Creators arealsovery from £2.5billionin2018.Music contribution anda7%increase total£5.8billion the industry’s economy in2019,almosthalfof £2.7 billioninGVA totheUK Music Creatorscontributed recording. it asong,compositionormaster creation ofa“musicalasset”be people whocontributetothe and engineers.Theyarethe songwriters, ,producers musicians, vocalists,, Music Creatorsincludes GVA 2019 2018 £2.5 BILLION live performance.Inaddition to 80% forthosemostrelianton and thiscouldextendtoover direct consequenceofCOVID-19 creators’ incomewillbelostasa aggregate over65%ofMusic heavilytowardslive.In very incomeskewsMusic creator’s forany support. qualify third (33%)ofmusiciansdidnot schemes cometoanend.One financial hardshipasfurlough musicians saytheywillface Union reportsthat87%of TheMusicians’ no safetynet. self-employed andwithlittleor COVID-19 andinmany casesare those deeplyimpactedby Music creatorsarealsoamong national averageof£29,832. year are£23,059–wellbelowthe earnings formusiciansinatypical National Statistics(ONS), annual 2018. AccordingtotheOfficefor anincreaseof2%on in theUK, music creatorsareemployed that 142,000full-timeequivalent supports. In2019weestimate of MusicCreatorsthisfigure youconsiderthenumber creators. Thisisespeciallyso £2.7 BILLION . 11 EXPORTS 2019 2018 and physical musicatevents. majority oftheirmerchandise live income,many artists sellthe existence ofmusiccreators. economy isbuiltuponthe andthebroader music industry The economicvalueofthe sector toadaptandriseagain. support isrequiredtohelpthis in theseunprecedentedtimes the soundtracktoourlives,but they doisviable.Theycreate inventive. Theessenceofwhat thoughtfuland resilient, Music creatorsareinherently incomes. has hadanegativeimpacton and alackofinternationalclients distancing, reducedcapacities remote recording),social sessions haveresumed(including first lockdown. Whilerecording of recordingstudiosduringthe also impactedbytheclosure engineers, andartistswere Session musicians,producers, advances. of recordlabelandpublishing donothavethecomfort Self-releasing artists,especially, £1.1 BILLION £1.2 BILLION creators. Roxanne deBastion Jin

Roxanne de Bastion | Amanda Rose © Jin Jin | Pierre Joseph © her hometownofBerlinforLondon Afterleaving independent artist. Roxanne deBastionisan performing, butshewas nervous She wasashy childandwouldget storeinManchester. and hangoutinhergrandad’s talking abouttheHaçiendanightclub parents playingHousemusicand age, Jinwouldlistentoher Surrounded bymusicfromayoung Douke andHxxdz. writers SophiaAmato,Blaise,Theo Music PublishingGroupandsigned Publishing in2019withUniversal acts, shelaunchedJinsingMusic Passionate aboutdeveloping Jax JonesandSigala. includehitsforJessGlynne, Jin isasongwriter, whosewriting selling merchandise andalbumsat comes fromrelentlesstouring and Most ofherincomethesedays Folk Festival. andtheCambridge at Glastonbury Wainwright Sisters,aswell asshows slots withLambchopandthe Heirlooms &Hearsay, ledtosupport 2017 crowd-fundeddebutalbum, Having builtaloyalfanbase,her . yearacrosstheUKand gigs every admin workwithplayingnearly100 she gotbybalancinghospitalityand 12 Music Industry Management. The Management. Music Industry studying MusicTechnology and school andweekend classesbefore part ofachoirandattendedstage lifeline. and Patreon havebeenareal to-fan platformssuchasBandcamp coming intokeep creating.Direct- things movingandenoughmoney hardforhertokeep It hasbeenvery pandemic hit. by BernardButler, whenthe plan forherlatestalbum,produced she wasputtingtogetherarelease Roxanne wasjustatastagewhere had ahugeimpact. those shows,sothepandemichas different walksoflife. as many peopleasyoucanfromall of yourcomfortzone andworkwith important tocollaborate,stepout businesses. Jinhaslearntitis other musicians,writersandmusic the waythatsheinteractswith re-evaluate hermusicprocessand The COVID-19 pandemicmadeher terms. and understandallthetechnical the samelanguageasproducers around thestudio,helpedherspeak course helpedherlearnway

rehearsal space. The Tin,Coventry

The Tin | James Dearing © on toformtheirownbands and the childrenonthisscheme go Masonsaysmany of the industry. perform, recordandlearnabout toformbands,rehearse, school opportunity forsecondary is LiveOnStage,whichgivesthe One ofTheTin’s leadingprojects affordable rates. Tin isabletoofferitsfacilityat especially fornewactsbutThe says thecostscanbeprohibitive, Co-ordinator MasonLeLong recording. andFacilities tour ortopractisesongsbefore rehearse whetherthatisfora All artistsneedtobeable amps, ,micsanddrums. equipment includingaPA system, funded thepurchaseof across England.Thesupport to helpset-up rehearsalspaces Music andSoundConnections from aDCMSschemerunbyUK In 2009,TheTinreceivedsupport engagement withthearts. educate itscommunitythrough aregisteredcharityitaimsto As celebrationsin2021. the ’s more, andwillbeakey partof studio, rehearsalspaceand a livemusicvenue,recording Culture. Theorganisationis the 2021Cityof in Coventry, The Tinisamulti-purposespace 13 support needstocontinue. overheads thevenuehasthatthis He alsothinksthatgiventhefixed financial assistancetothesector. on theimportanceofproviding raising Governmentawareness #WeMakeEvents werecrucialin as #LetTheMusicPlayand social mediacampaignssuch from opening.Masonfeels guidelines havepreventedit function. Masonsaysdistancing the organisation’s abilityto had aprofoundimpacton The COVID-19 pandemic adjoining roomsdoesnotleak. soundproofing, sothatnoisefrom improve soundquality, aswell acoustic treatmentinstalledto rehearsal spacealsoneedsproper The with theenvironment. and theyneedtobecomefamiliar different skillsettoplayinglive feels thatplayingtorecordisa at recordingtheirwork.He artists theirfirstexperiences the studiotogiveyoung Mason hopestofurtherdevelop on . the rehearsalspacesandperform come backtothevenueuse rehearsal space. The Tin,Coventry

The Tin | James Dearing © tour ortopractisesongsbefore rehearse whetherthatisfora All artistsneedtobeable amps, guitars,micsanddrums. equipment includingaPA system, funded thepurchaseof across England.Thesupport to helpset-up rehearsalspaces Music andSoundConnections from aDCMSschemerunbyUK In 2009,TheTinreceivedsupport engagement withthearts. educate itscommunitythrough aregisteredcharityitaimsto As celebrationsin2021. the city’s more, andwillbeakey partof studio, rehearsalspaceand a livemusicvenue,recording Culture. Theorganisationis the 2021Cityof in Coventry, The Tinisamulti-purposespace on toformtheirownbands and the childrenonthisscheme go Masonsaysmany of the industry. perform, recordandlearnabout children toformbands,rehearse, school opportunity forsecondary is LiveOnStage,whichgivesthe One ofTheTin’s leadingprojects affordable rates. Tin isabletoofferitsfacilityat especially fornewactsbutThe says thecostscanbeprohibitive, Co-ordinator MasonLeLong recording. Education andFacilities 13 on stage. the rehearsalspacesandperform come backtothevenueuse support needstocontinue. overheads thevenuehasthatthis He alsothinksthatgiventhefixed financial assistancetothesector. on theimportanceofproviding raising Governmentawareness #WeMakeEvents werecrucialin as #LetTheMusicPlayand social mediacampaignssuch from opening.Masonfeels guidelines havepreventedit function. Masonsaysdistancing the organisation’s abilityto had aprofoundimpacton The COVID-19 pandemic adjoining roomsdoesnotleak. soundproofing, sothatnoisefrom improve soundquality, aswell acoustic treatmentinstalledto rehearsal spacealsoneedsproper The with theenvironment. and theyneedtobecomefamiliar different skillsettoplayinglive feels thatplayingtorecordisa at recordingtheirwork.He artists theirfirstexperiences the studiotogiveyoung Mason hopestofurtherdevelop live music. * spent inconjunction withattending aliveshow. spendsuch asfoodanddrink Thisdefinitionincludes performersonstage(included underMusicCreators)industry. andancillary The Carey&Chambers 2020reportproducesdifferent figures forGV Ms performing at the AIM Awards | AIM - Jennifer McCord © GVA 2019 2018 £1.1 BILLION £1.3 BILLION such astheSpiceGirlsandTake alongside homegrownnames played UKstadiumsduring2019 as BonJoviandTheEaglesall increase. Internationalartistssuch venues contributedtothis improvements amonggrassroots together withdatacollection performance acrossthesector, tours andaconsistentlystrong A highnumberofstadium from £80millionin2018. grew8%to£86million Exports up 11%from30,529in2018. 2018 andemploys34,000people, on its£1.1billioncontributionin economy in2019,a17%increase contributed £1.3billiontotheUK and musicvenues.Thissector ticket agents production services, promoters, musicagents, The livesectorincludesfestivals, GVA figure. to theMusicCreators£2.7billion event*. Performers’ GVA counts associated spendaroundan include performersonstageor £1.3 billionGVA figure doesnot the published byUKMusic, Consistent withdatapreviously That. A and employment, usingabroaderdefinition ofthelivemusic A andemployment, 14 EXPORTS 2019 2018 revenues fallingtoalmost devastated byCOVID-19, with The livemusicsectorhasbeen now inurgentneedofalifeline. was onceproudlyself-reliant is to beevenstronger. Asectorthat COVID-19, 2020wasshapingup successful yeartodateandpre- most 2019 wastheliveindustry’s future. to ensurethissector’s of goodbutmoreactionisneeded members, hasdoneagreatdeal UKLiveMusicGroupandits Music, following campaigningfromUK Fund,Culture secured Recovery facing closure.TheGovernment’s of smallvenuesandnightclubs withahighnumber hard hit, Grassroots venuesareespecially developing acts. enables promoterstoreinvestin also supportsmostfestivalsand GVA,live sector’s butthatactivity artists contributemassivelytothe international artists.Majortouring impossible forbothUKand restrictions havemadetouring and economically, whiletravel taking placebothoperationally prevented mosteventsfrom zero. Socialdistancinghas £80 MILLION £86 MILLION

festival. Bluedot Festival

Bluedot Festival | Jody Hartley © that hasledtoadesirefrom boom infestivalsthiscountry He saystherehasbeenafantastic that weresenttotheMoon. being turnedintoradiosignals ‘moon bounce’ withaudiosignals to theMoonandco-ordinateda ofApollomission 50th anniversary 2019 thefestivalcelebrated usually anentertainmentspace.In some educationintowhatis the imaginationandalsobrought Bluedot hasbecomeafeastfor festival format. science, andtheartsinaunique boundaries betweenmusic, outdoor arts,erodingthe development ofcombined has playedakey roleinthe Ben Robinsonsaystheevent Bluedot’s festivaldirector, and many more. Hot ChipandTheFlamingLips Chemical Brothers,NewOrder, audience wearing3Dglasses,The Kraftwerk, whichincludedthe as headlineperformancesfrom sci-art collaborations,aswell The festivalhostsrangeofunique Cheshire. UNESCO World HeritageSitein a Jodrell BankObservatory, science festival,basedatthe culture, and Bluedot isanart, 15 event . barriers whenitcomestosecuring tohelpitovercome the industry to lookatwaysofsupporting shows. HeurgedtheGovernment hampered theabilitytoplan new insurance offestivals,whichhas Ben alsohighlightsissueswith , andtransport. infrastructure suchasmedics, provided bylicensedevents people willnothavethesafety unlicensed events,whereyoung dangers posedbytherisein He isconcernedaboutthe festival. which impactsonbookingforthe the lackofinternationaltours, Another challengeforBenis feasible businessmodels. to sellthetickets requiredtohave making itincrediblychallenging confidence ineventsgoingahead, difficulttobuildaudience very distancing, Benfeelsitwillbe With theguidelinesonsocial to thefestival’ssupplychain. job lossesandasignificantimpact event in2020,whichresulted and forcedthecancellationof suffered aseriousfinancialhit pandemic meantthefestival new experiences.TheCOVID-19 audiences tohavespecialand festival. Bluedot Festival

Bluedot Festival | Jody Hartley © festival format. festival format. science, andtheartsinaunique boundaries betweenmusic, outdoor arts,erodingthe development ofcombined has playedakey roleinthe Ben Robinsonsaystheevent Bluedot’s festivaldirector, and many more. Hot ChipandTheFlamingLips Chemical Brothers,NewOrder, audience wearing3Dglasses,The Kraftwerk, whichincludedthe as headlineperformancesfrom sci-art collaborations,aswell The festivalhostsrangeofunique Cheshire. UNESCO World HeritageSitein a Jodrell BankObservatory, science festival,basedatthe culture,and Bluedot isanart, that hasledtoadesirefrom boom infestivalsthiscountry He saystherehasbeenafantastic that weresenttotheMoon. being turnedintoradiosignals ‘moon bounce’ withaudiosignals to theMoonandco-ordinateda ofApollomission 50th anniversary 2019 thefestivalcelebrated usually anentertainmentspace.In some educationintowhatis the imaginationandalsobrought Bluedot hasbecomeafeastfor 15 pandemic meantthefestival new experiences.TheCOVID-19 audiences tohavespecialand event insurance. barriers whenitcomestosecuring tohelpitovercome the industry to lookatwaysofsupporting shows. HeurgedtheGovernment hampered theabilitytoplan new insurance offestivals,whichhas Ben alsohighlightsissueswith security, andtransport. infrastructure suchasmedics, provided bylicensedevents people willnothavethesafety unlicensed events,whereyoung dangers posedbytherisein He isconcernedaboutthe festival. which impactsonbookingforthe the lackofinternationaltours, Another challengeforBenis feasible businessmodels. to sellthetickets requiredtohave making itincrediblychallenging confidence ineventsgoingahead, difficulttobuildaudience very distancing, Benfeelsitwillbe With theguidelinesonsocial to thefestival’ssupplychain. job lossesandasignificantimpact event in2020,whichresulted and forcedthecancellationof suffered aseriousfinancialhit music publishing. The formationofthePPLPRS including andNetflix. on-demandservices andAppleMusicand, Spotify streaming platformssuchas Continued growthcamefrom performance. contributed tothestrongexports significant potential,suchasChina emerging frommarkets with markets, combinedwithrevenues copying leviesininternational Major settlementsandprivate at 1,368in2019. Employment remainedconsistent, million from£628in2018. exports whichgrew15%to£712 byahealthy increasein in part, of 14%on2018.Thiswasfuelled, million inGVA in2019,anincrease Music publishingcontributed£524 Music Creators. songwriters, whoformpartof many composers,lyricistsand process andthecareersof Music publishingsupportsthat isbuilt. of themusicindustry which, theeconomicvalue first commercialassetsupon and songwriting.Thesearethe Music beginswithcomposition * See methodologyon page33forpublishingexportsdefinition. GVA 2019 2018 £459 MILLION sources ofincome. on liveperformances,asprimary works, hireofmusicalscoresand heavilyuponcommissionsof very classical , whorely This ismostkeenly feltinthe means thatthisincomevanishes. live. Thesuspensionofliveshows performance ofsongsperformed and publishers,forthepublic pay licencefees,tosongwriters in theUKandinternationally Publishing significantly. Promoters has alsoimpactedmusic The collapseoftheliveindustry other licensees. by theclosureofshops,barsand PRS Ltd,willbeseverelyimpacted to theimpactofCOVID-19. PPL Music publishingisnotimmune greater efficienciesandincome. now fullyoperational,delivering and songwritersontheother, is music publishingrightsholders performers ontheonehandand, master rightsholdersand performance incomeforboth Ltd jointventure,whichcollects £524 MILLION 16 EXPORTS* 2019 2018

Steel Banglez | Louis Browne © £618 MILLION £712 MILLION music publishing. The formationofthePPLPRS including Amazon andNetflix. video on-demandservices andAppleMusicand, Spotify streaming platformssuchas Continued growthcamefrom performance. contributed tothestrongexports significant potential,suchasChina emerging frommarkets with markets, combinedwithrevenues copying leviesininternational Major settlementsandprivate at 1,368in2019. Employment remainedconsistent, million from£628in2018. exports whichgrew15%to£712 byahealthy increasein in part, of 14%on2018.Thiswasfuelled, million inGVA in2019,anincrease Music publishingcontributed£524 Music Creators. songwriters, whoformpartof many composers,lyricistsand process andthecareersof Music publishingsupportsthat isbuilt. of themusicindustry which, theeconomicvalue first commercialassetsupon and songwriting.Thesearethe Music beginswithcomposition * See methodologyon page33forpublishingexportsdefinition. GVA 2019 2018 £459 MILLION sources ofincome. on liveperformances,asprimary works, hireofmusicalscoresand heavilyuponcommissionsof very classical community, whorely This ismostkeenly feltinthe means thatthisincomevanishes. live. Thesuspensionofliveshows performance ofsongsperformed and publishers,forthepublic pay licencefees,tosongwriters in theUKandinternationally Publishing significantly. Promoters has alsoimpactedmusic The collapseoftheliveindustry other licensees. by theclosureofshops,barsand PRS Ltd,willbeseverelyimpacted to theimpactofCOVID-19. PPL Music publishingisnotimmune greater efficienciesandincome. now fullyoperational,delivering and songwritersontheother, is music publishingrightsholders performers ontheonehandand, master rightsholdersand performance incomeforboth Ltd jointventure,whichcollects £524 MILLION 16 EXPORTS* 2019 2018

Steel Banglez | Louis Browne © £618 MILLION £712 MILLION

publisher. Bucks MusicGroup

Bucks Music Group writers overthe25yearsincluding represented many successful its stableofcompanieshave Affairs, SheilaShayegansays Bucks MusicHeadofBusiness to overthirtytoday. company fromsevenemployees Simon hascontinuedtogrowthe Director in1993.Sincethen, before becomingManaging the company intheearly 1980s, Black Sabbath.Simonjoined Stones,TheWhoand career signingthelikes ofThe David hadahighlysuccessful Director SimonPlatz. the fatherofcurrentManaging It wasfoundedbyDavidPlatz, independent musicpublishers. UK’s longestrunninginternational Bucks MusicGroupisoneofthe consumption continuestoevolve and globallandscapeformusic thecomplex digital of income.As most reliableandsteadfast source the useoftheirmusiccanbe their publishing royaltiesearned from Sheila saysforasongwriter, the Downton Abbey(JohnLunn). such asDrWho(MurrayGold)and programmesandfilms on hitTV composers whohaveworked Sean, andProfessorGreen- Beyonce Knowles,,Jay co-writers ofhitsbyJamesBlunt, 17 protected sothevalueofthose publishing rightsareenforcedand rapidly, itisimportanttoensure difficult times. them issupportedduringthese important thetalentthatcreates the strengthofsongand itis relieson Sheila feelstheindustry further financialhardship. viable wayforsometime,creating able resumeinaneconomically that eventsandgigswillnotbe easing ofrestrictions,itseems Even withGovernment’sgradual income towriters. previously reliablesourcesof has meanthugeuncertaintyover loss ofliveperformancerevenue The COVID-19 pandemicandthe are paidproperly. are licensedcorrectlyandcreators has beentoensuretheserights The challengeforrightsholders stream. also anadditionalnewrevenue exposure forthosesongs,but past hits.Withthatcomenotonly caused aresurgenceofinterestin success of10-secondvideoshas phenomenon ofTikTok. The challenges hasbeentheglobal She thinksoneoftherecent ismaximized. record label a&r. Jo Charrington -Capitol Records UK Matt Thornhill- Turks

Capitol Records UK artist | Alasdair McLellan © Young Turks artist | Laura Coulson © Universal Music UK. Capitol’sroster Universal MusicUK. whichispart of Capitol RecordsUK, Jo CharringtonisCo-Presidentof Matt thinksthattheymustwork profile collaborations. fanbase, throughaseriesofhigh- refine hissongwritingandbuilda that time,Young Turks helpedhim released hisdebutalbum.During Sampha forsevenyearsbeforehe Prize-winnerworked withMercury artists’ long-termcareers.Theteam Thornhill, thefocusisonbuilding For ManagingDirectorMatt Ethan PFlynnandMustafa. twigs andnewactslike Koreless, SamphaandFKA including Thexx, company, representingartists label, publisherandmanagement Young Turks isan independent artists arealso forcedtocompete the market and withmoremusic, and globalisationhavesocrowded But atatimewhentechnology Capitol’s . develop newtalentistheheart of potential. Findingandhelping greatest creativeandcommercial job ashelpingartistsachievetheir their developmentandviewsher Jo signsactsatvariousstagesof among itsmany greatUKartists. Payne, MaeMullerandZoe Wees includes SamSmith,,Liam 18 central tothis–understandingan music fromtheirbedroom.A&Ris easy forartiststorecordandrelease hard toprovetheirworthwhenitis continues tofind talentonline. butJo live musicfordiscovery, Nothingmatches releasing music. new innovationsformaking and safe environmentsforwriting and process, buttheteamhave provided COVID-19 hasaffectedthe creative support oftheartist. the environmentandtoinvestin of alabelteamtohelpnavigate artist requiresthepartnership and far-reaching successofany She believesthatthesustained breakthrough. it’s harderthaneverforanartistto Josaysthat other , for theattentionofaudienceswith industry. of thecollapselivemusic a thirdduetotheknock-on impact Turks incomewillshrinkbyaround Matt predictsYoungpandemic, asaperformer. Duetothe grassroots fanbaseandhonetheir new artistasithelpsthembuilda fundamental todevelopinga He believesplayingliveis of makingarecord. walking themthroughtheprocess artist’s vision,inspiringthemand

recorded music. in revenues,supportedby Streaming isdrivingthegrowth consistent at5,400in2019. 2019 andemploymentremained million in2018to£518 increased8%from£478 Exports 9% from£563millionin2018. during 2019,anincreaseof contributed £613millioninGVA The recordedmusicsector under MusicCreators. producers, whichareallcounted musicians, engineersand of recordingartists,session supportthecareers with artists,investmentand and theircreativepartnership at scaleintonewUKartisttalent investors labels aretheprimary and recordingstudios.Record physical anddigitaldistributors labels, masterrightsholders, This sectorcomprisesrecord BBC Introducing andMAPmemberSolentUniversity graduates | BASH! GVA 2019 2018 £563 MILLION £613 MILLION Universal’s SpinUp,orthrough suchas their ownservices, the market byeitherlaunching traditional labelshaveentered CDBaby, Kobalt ownedAWAL and years. Leadingplayersinclude of musiccreatorsinrecent significant increase in the number structure hascoincidedwitha outside thetraditionallabel forself-releasedservices artists The growthofdigitaldistribution catering forcommittedfans. retain animportantplacein such asvinyl andCDbox-sets well packagedpremiumproduct continue todecline,although recorded income). Physical sales merchandise andothernon- income (i.e.ashareinartist’slive, placement) andartistancillary TV synchronisation (filmand performance income(PPL), 19 EXPORTS Alex Tervinsky © 2019 2018 once lost, arenoteasytoreplace. once lost, highly specialisedfacilitiesthat, overheads. Recordingstudiosare months tocoversizeable they receivednoincomefor COVID-19 meaning pandemic, to operateattheheightof Recording studioswereunable to beaffectedby COVID-19. incomelikely and artistancillary either withpublicperformance Major labelsarenotimmune finance isanongoingconcern. have deeppockets andaccessto pressing becauseindiesdonot record labelsisespecially sector. The plightofindependent repertoire, thelifebloodofthis making andmarketing ofnew COVID-19 hasdisruptedthe The Orchard. acquisition, suchasSony Music’s £478 MILLION £518 MILLION recorded music. in revenues,supportedby Streaming isdrivingthegrowth consistent at5,400in2019. 2019 andemploymentremained million in2018to£518 increased8%from£478 Exports 9% from£563millionin2018. during 2019,anincreaseof contributed £613millioninGVA The recordedmusicsector under MusicCreators. producers, whichareallcounted musicians, engineersand of recordingartists,session marketing supportthecareers with artists,investmentand and theircreativepartnership at scaleintonewUKartisttalent investors labels aretheprimary and recordingstudios.Record physical anddigitaldistributors labels, masterrightsholders, This sectorcomprisesrecord BBC Introducing andMAPmemberSolentUniversity graduates | BASH! GVA 2019 2018 £563 MILLION £613 MILLION Universal’s SpinUp,orthrough suchas their ownservices, the market byeitherlaunching traditional labelshaveentered CDBaby, Kobalt ownedAWAL and years. Leadingplayersinclude of musiccreatorsinrecent significant increase in the number structure hascoincidedwitha outside thetraditionallabel forself-releasedservices artists The growthofdigitaldistribution catering forcommittedfans. retain animportantplacein such asvinyl andCDbox-sets well packagedpremiumproduct continue todecline,although recorded income). Physical sales merchandise andothernon- income (i.e.ashareinartist’slive, placement) andartistancillary TV synchronisation (filmand performance income(PPL), 19 EXPORTS Alex Tervinsky © 2019 2018 once lost, arenoteasytoreplace. once lost, highly specialisedfacilitiesthat, overheads. Recordingstudiosare months tocoversizeable they receivednoincomefor COVID-19 meaning pandemic, to operateattheheightof Recording studioswereunable to beaffectedby COVID-19. incomelikely and artistancillary either withpublicperformance Major labelsarenotimmune finance isanongoingconcern. have deeppockets andaccessto pressing becauseindiesdonot record labelsisespecially sector. The plightofindependent repertoire, thelifebloodofthis making andmarketing ofnew COVID-19 hasdisruptedthe The Orchard. acquisition, suchasSony Music’s £478 MILLION £518 MILLION music representatives. The rolemusicrepresentatives to 3,100. and employmentgrewfrom2,624 from £387millionto£406 while exportsincreasedslightly up 15%from£148millionin2018, contributed £170millionin2019, Music Representatives and rightsholders. those royaltiestoMusicCreators they licensetheiruseandreturn thevalueofrightsas preserving valuable roleinprotectingand Organisations (CMOs) playa Collective Management artist. of ateamadvisorsaroundthe affairs ofMusicCreatorsaspart to playinmanagingthebusiness have anespeciallyimportantrole but parties acrosstheindustry, canrepresentvarious lawyers Music accountantsandmusic from thatprocess. work thatisdonetobuildvalue of thecreativeprocessand considerable stressesandstrains music creators,navigatingthe represent theinterestsof music representativeswho Music managersarethefrontline * See methodologyon page33forMusicRepresentatives exports definition. GVA 2019 2018 £148 MILLION £170 MILLION close tozero. performance, whichiscurrently is directlyattributabletolive that 80%ofitsmembers’income is evenworse,theMMFreports The impactonartistmanagers could declineby15-25%. for Musicestimatesitsrevenue 30% comparedto2019,andPRS revenues coulddeclinebyupto licensing. PPLestimatesitsUK the impactonpublicperformance revenue for2020,primarilydueto CMOs areprojectingadeclinein aconsequenceofCOVID-19,As health services. advice, mentoringandmental but canalsoincludebusiness Such supportisnotonlyfinancial, amongst others. Fund andPRSFoundation, charitable bodies,theMember’s PRSforMusicandits Union, PPL, theMusicians’ Musicians UK, funds. AIM,BPI,MMF, Help coordinated varioushardship either initiated,supportedor Many organisationshave during theCOVID-19 crisis. play hasprovencritical 20 EXPORTS* 2019 2018

Grace Carter performing for BBC Introducing at SXSW | Thomas Jackson / TyneSight Photographical © £387 MILLION £406 MILLION

Creamfields |Anthony Mooney © 21 Creamfields |Anthony Mooney © 21 management. Amy Thomson-Manager

Amy Thomson music. remixed, especiallyindance that isproduced,mixed andoften a ,theycreaterecording work withherartistclients.From songwriters andcollaboratorsto amanager,As Amymightbringin process andstartwithasong. businesses beginwiththecreative of artists’businessesandthose She feelsmanagersaretheCEOs capacity,consultancy . , DJ Snake and,inamarketing included SwedishHouseMafia, she represents.Herclientshave billion streamsfortheartists tickets andgeneratedover20 sold over1.5millionconcert manager, AmyThomsonhas Over twodecadesasanartist time, whichrequires constant global valueforalongperiod of A song’scopyrightcanhave those dealsareenforced. deals andworkshardtoensure artists, shenegotiatesthebest business affairsofherstable accountants tooverseethe and She workswithlawyers promote artistsonaglobalbasis. international marketing to press, radioand–crucially marketing,process ofA&R, She overseestherecordlabel 22 ever morecomplex. number ofroyaltysourcesgrows especiallyas the management, the bestteams. by strikingsmartdealsandhiring profitability ofartists’businesses streams, increasingthesize and Managers bringnewrevenue economy. the UKinafurtherboostto home totheUKandpaytaxes in management commissionback often hireBritishstaffandbring artists fromaroundtheworld,but They helpgenerateincomefor they areexporterstoo. which means international talent, alsorepresent British talent, in additiontorepresenting British managerslike Amy, for artists. through topersonalsupportstaff auditors, consultantsright business andlegalteams, touring shows,merchcompanies, digital marketeers, liveagents, crew, creatives,videodirectors, involves hiringofthetouring Another key partofherrole music retail. continues togrow(up6.4%) and sales continuetodecline,vinyl AlthoughCD to theERA/BPI. the sameperiod)according 27% and17%respectivelyover sales continuetodecline(down paid downloadsandphysical (up 21%from2018to2019)as bystreaming overwhelmingly continued togrow, fuelled Recorded musicrevenues 2019. from 11,688in2018to11,300 2019. Employmentdippedslightly million in2018,to£26 wentfrom£24 in 2018.Exports to £463millionfrom£402 Music retailgrewitsGVA in2019 software andhardware. such asamplifiersandrecording to accessories,PA equipment bands andorchestrasinaddition instruments usedbysoloists, such aselectricandacoustic the saleofmusicalinstruments, Italsoincludes streaming . download orpayingforamusic sales, suchasbuyingaCD, LPor physical anddigitalrecordedmusic inlastyear.industry Itincludes the definitionof“core” music Music Retailwasfirstaddedto ** * MIA estimate BPIestimates Numbers inthisparagraph areERA/ GVA 2019 2018 £402 MILLION £426 MILLION support. would benefitfromtargeted caused challengesandthesector Nevertheless, twolockdowns have year onincreasesin2020. strong saleswithvinyl seeing independent shopshaveseen to accommodatesocialdistancing, and thenspreadoverthreedays moving backfromApriltoJune disrupted in2020,withthedate Despite RecordStoreDaybeing new consumerpurchasinghabits. street storeshaveadaptedto online andmany traditionalhigh retail hasdrivenmany sales The impactofCOVID-19 onMusic than professionalmusicians. to thoseplayingasahobbyrather and thisappearstobeattributed sales haveincreasedduring2020 hardware saleswerehit. under lockdown werestrong,but interesting trends.Softwaresales COVID-19 hasthrownupsome year-on-year.purchases willvary investment forMusicCreatorsso 2018**. Instrumentsareacapital slightly in2019,down2%on Music instrumentsalesdeclined cassette) areup9.6%*. other physical (including 23 EXPORTS* 2019 2018

Record Store Day 2020 | Record Store Day © £24 MILLION £26 MILLION music tourism. 4Music is vital to the UK’s tourist 888,000 in 2018. March 2020 put the live music industry and 2019 was another industry and music tourism in strong year with 33.7 million The number of foreign visitors turmoil. people attending live music does fluctuate from year to year: events in the UK, an increase of growing 35% in 2016, declining Music tourism revenue and jobs 13% from 29.8 million in 2018. 3% in 2017 and growing 10% in are under threat. The industry has The number of music visitors also 2018 before declining 5% in 2019. already been vastly impacted by grew, with 12.6 million music fans Nevertheless, the overall picture social-distancing restrictions and attending live events in 2019, up for music tourism in recent years international restrictions 13% from 11.2 million in 2018. and in 2019 specifically has been will have a particularly adverse one of consistent growth and impact on attracting high Festival attendance showed a strength. spending overseas visitors to UK strong increase, up 6% to 5.2 live music events. This includes million in 2019, from 4.9 million The level of spend by music festivals, , but also in 2018. Glastonbury returned tourists increased to £4.7 billion nightclubs such as Ministry of after a fallow year in 2018 and in 2019, up 6% from £4.5 billion Sound, which has retained a other festivals such as Reading, in 2018. Overseas visitors tend global reputation amongst Download and British to spend more per head than music fans around the world. Time all performed well. domestic visitors and this does have an impact on level of spend Music tourism benefits the whole Concert attendance was especially attributed to music tourism. economy, especially at a local level strong, up 15% to 28.5 million in The average spend by overseas in the areas surrounding venues 2019, from 24.9 million in 2018. music visitors was £899 in 2019 and events, so the consequences Concerts were boosted by an compared to £183 average spend for a lack of music tourism income especially high number of by domestic music visitors. are far-reaching. tours by major acts such as the Girls, and Bon Music tourism sustained a total Jovi at the top of the market and 45,633 full-time jobs in 2019, improved data collection amongst which was roughly level with the grassroots venues. year before, but 15% up on the 39,728 jobs sustained by music Domestic visitors* grew 14% to tourism in 2016. Early indicators 11.7 million in 2019 from 10.3 suggested 2020 would have million in 2018. The number of been even 2019. overseas visitors dropped slightly The outbreak of the COVID-19 by 5% to 845,000 in 2019 from pandemic, which hit the UK in

* Domestic visitors were as either “locals” or “visitors” based on distance travelled to the venue rather than on whether their initial location was in a different Government Office . See full methodology.

24 THERE WAS A TOTAL OF 12.6 MILLION MUSIC TOURISTS GOING TO LIVE MUSIC EVENTS

MUSIC TOURISTS SPENT £4.7 BILLION 45,633 JOBS WERE SUSTAINED BY MUSIC TOURISM

25 number of music tourists. stadium toursplayingacross attributed toahighnumberof across theregionscanbe well. Thisstrongperformance East Midlandsallincreasingas , Wales, SouthWest and in 2019,withtheNorthWest, 738,000 in2018to877,000 West Midlandsgrew19%from and MuseattheLondonStadium. such asMetallicaatTwickenham Wireless; andstadiumshows such asBritishSummerTimeand wasboostedbyfestivals 2018 to4.1millionin2019. rising 45%from2.8millionin London sawthelargestincrease, of consistentgrowthsince2016. million in2019,theculmination reached arecordhighof12.6 In totalmusictouristsintheUK events theyareattending. in theUKbutarenotlocalto well asdomestictouristswholive those travellingfromoverseasas in 2019.Musictouristsinclude events acrosstheUKbyregion of touristsattendinglivemusic This mapshowsthetotalnumber tour. Manchester aspartoftheir UK Cardiffand London, Coventry, Spice Girlsplayedstadiums in Forexample,the the UK. 234 THOUSAND 1.5 MILLION NORTH WEST 9.5 MILLION 1.3 MILLION 440 THOUSAND 2016 SCOTLAND 877 THOUSAND 26 WEST MIDLANDS WALES 10.9 MILLION NUMBER OFMUSICTOURISTS 2017 SOUTH WEST 1 MILLION 11.2 MILLION 4.1 MILLION LONDON 2018 242 THOUSAND NORTH EAST 754 THOUSAND YORKSHIRE &THEHUMBER 1 MILLION SOUTH EAST 596 THOUSAND OFENGLAND EAST 516 THOUSAND MIDLANDS EAST 12.6 MILLION 2019

music tourist spend. spend intheNorthWest. and Creamfieldshelpedincrease while festivalssuchasParklife the increaseinSouthWest, after afallowyear, alsodrove in2019, return ofGlastonbury spend intheseregions.The stadium tourhelpedincrease Shows includingTake That’sUK North West alsosawgrowth. The SouthWest, Wales, andthe 2019. £211,000 in2018to£252,000 2019 andWest Midlands from million in2018to£1.5 year. Londongrewfrom£1.3 both increasing20%year-on- showed thestrongestgrowth, 2016. LondonandWest Midlands continuing anupwardtrendsince from £4.5billionin2018and £4.7 billionin2019,up6% Music tourismspendreached space orequipment. suchashiring running theevent, costs createdbyorganisersin as indirectspend,whichcovers food andaccommodation,aswell tickets, merchandise and drinks, includes directspendsuchas music visitorsperregion.This amount ofspendgeneratedby This mapdisplaysthetotal NORTHERN IRELAND £477 MILLION £81 MILLION £453 MILLION £3.4 NORTH WEST DIRECT ANDINDIRECT SPENDGENERATED BY MUSICTOURISM 2016 £143 MILLION BILLION SCOTLAND 27 £252 MILLION WEST MIDLANDS WALES £4 BILLION 2017 £528 MILLION SOUTH WEST £4.5 £1.5 BILLION LONDON 2018 BILLION £60 MILLION NORTH EAST £264 MILLION YORKSHIRE &THEHUMBER £553 MILLION SOUTH EAST £212 MILLION OFENGLAND EAST £208 MILLION MIDLANDS EAST £4.7 2019 BILLION music tourist spend. the increaseinSouthWest, after afallowyear, alsodrove in2019, return ofGlastonbury spend intheseregions.The stadium tourhelpedincrease Shows includingTake That’sUK North West alsosawgrowth. The SouthWest, Wales, andthe 2019. £211,000 in2018to£252,000 2019 andWest Midlands from million in2018to£1.5 year. Londongrewfrom£1.3 both increasing20%year-on- showed thestrongestgrowth, 2016. LondonandWest Midlands continuing anupwardtrendsince from £4.5billionin2018and £4.7 billionin2019,up6% Music tourismspendreached space orequipment. suchashiring running theevent, costs createdbyorganisersin as indirectspend,whichcovers food andaccommodation,aswell tickets, merchandise and drinks, includes directspendsuchas music visitorsperregion.This amount ofspendgeneratedby This mapdisplaysthetotal spend intheNorthWest. and Creamfieldshelpedincrease while festivalssuchasParklife NORTHERN IRELAND £477 MILLION £81 MILLION £453 MILLION £3.4 NORTH WEST DIRECT ANDINDIRECT SPENDGENERATED BY MUSICTOURISM 2016 £143 MILLION BILLION SCOTLAND 27 £252 MILLION WEST MIDLANDS WALES £4 BILLION 2017 £528 MILLION SOUTH WEST £4.5 £1.5 BILLION LONDON 2018 BILLION £60 MILLION NORTH EAST £264 MILLION YORKSHIRE &THEHUMBER £553 MILLION SOUTH EAST £212 MILLION OFENGLAND EAST £208 MILLION MIDLANDS EAST £4.7 2019 BILLION next steps. This map shows the number 5 of full-time equivalent jobs sustained by music tourism broken down by region. Roles within the industry range from promoters and sound engineers, to security and staff. SCOTLAND London saw the greatest growth, 4,757 increasing 16% from 9,252 in 2018 to 10,697 in 2019, with NORTH EAST Scotland also showing a healthy NORTHERN IRELAND 662 . 901 increase of 11% from 4,300 in YORKSHIRE & THE HUMBER 2018 to 4,757 in 2019. The South NORTH WEST 2,918 West, North West, West Midlands 4,976 EAST MIDLANDS and Wales all saw increases. WEST MIDLANDS 2,545 Employment attributed to 2,453 EAST OF ENGLAND 2,106 music tourism in 2019 grew only WALES slightly to 45,633 in 2019 from 1,843 SOUTH EAST 45,530 in 2018. The live sector 5,371 has shown strong growth over LONDON the past few years, but we need 10,697 to ensure that new talent is SOUTH WEST being trained to up with 6,402 demand. NUMBER OF FULL TIME JOBS SUSTAINED BY MUSIC TOURISM While regional activity is a 44,897 45,530 45,633 factor, with venues creating 39,728 local employment opportunities, those employed by music tourism often travel around the UK and abroad to work. What is clear is that music tourism delivers employment opportunities very significantly across all of the UK. 2016 2017 2018 2019

28 29 music tourism jobs music tourism next steps. 5As the first year of a new decade to get us through the pandemic, live music events draws to a close, COVID-19 and through to the point scheme. the restrictions associated with will be able to stand on our 3. Business rate relief for it, has been the defining issue own two feet again and start venues extended for faced by the music industry. delivering economic growth once 2021/22 financial year and Without an available and more. removal of festival sites on the rules on social distancing agricultural land from the continuing to be imposed, in the COVID-19 business business rates system. short term we cannot expect an recovery and revival. immediate return to normality. While Government help for 4. 2020 local authority license But this is a temporary setback. the music industry has been for festivals to be rolled over to 2021. It is imperative that we do welcome, not least the £1.57bn not lose sight of the massive Culture Recovery Fund, more 5. Maintain joint industry/ contribution the music industry support is needed so that Government work to makes to our economy. The the industry can get through establish clear protocols with findings in Music By Numbers this period with as many health agencies regarding 2020 prove that the UK music organisations and companies testing and live events. industry is a commercially surviving as possible. In addition, there needs to be successful sector that was The industry has made it a quarantine continuing to grow right up clear that Stage 4 (“partial exemption to enable people until the pandemic hit. When reopening”) of the Government’s coming from overseas to work it comes to reopening sectors “roadmap” is not economically immediately – whether its to across the economy in 2021 the viable for many venues or perform at a live event or record Government can ill afford for the festivals to socially in a studio. Business rate relief music industry to be at the back distanced performances without for music retail should also of the queue. The music industry Government support. In order be extended for the 2021/22 is integral to Britain’s post- to get live music restarted at the financial year, as well as being pandemic recovery. earliest opportunity and achieve introduced for recording and To return the music industry to an indicative date for reopening rehearsal studios. VAT relief for growth and fulfil our goal as one there are five specific actions shuttered physical music retailers of our country’s most important needed: is needed to assist with their national assets over the next 1. VAT rate reduction on tickets reopening. decade we do however need should be extended beyond COVID-19 workforce support. This is not support for 31 March 2021. a dying industry that is close to support. 2. Government backing for a extinction – we just need help 72% of those that work in

29 music are estimated to be self- freelancers should receive for touring musicians and employed. The Self-Employment complementary support to the composers entering the UK and Income Support Scheme (SEISS) employed. request reciprocity in the trade is very welcome yet many of It is therefore critical that the negotiations. This could mean those working in music have Government makes available either waiving permits for short fallen through the gaps, with targeted support that recognises term business visits as non-visa just over a third of self-employed the unique dynamics of the nationals or updating the current people working in the arts and music industry and Permitted Paid Engagement entertainment eligible for this impacted by the pandemic. By approach so its fit for purpose fund. doing so it would ensure the and better understood by The music industry has stepped artists, managers, composers, officials. This would up to the plate and is helping songwriters, sound engineers offer the EU a one-stop system its own with a range of hardship and countless others that the that does not trigger prohibitive funds supported by UK Music sector relies on, get the support costs and formalities. members including PPL, PRS for they need so that the industry At the level of UK / EU trade Music, the BPI, the Musicians’ can on its feet and , we require an Union, AIM and the MMF yet continue the work of rebuilding explicit deal for musicians and many in our industry still face an this world-leading industry to their crew to avoid navigating immense struggle to continue pre-COVID-19 levels. multiple systems when touring their careers. across the EU. This also needs Government has made job overseas touring. to include their equipment The impact of Brexit continues support available when and exemptions to avoid the to cast a cloud of uncertainty businesses are legally required to reintroduction of costly and over the ability of those in the shut yet when there have been time-consuming carnets for UK music industry to move freely relaxations those working in the such as instruments and around Europe, in particular music industry have continued merchandise when travelling given the catastrophic impact of to struggle because social across borders. COVID-19. distancing restrictions make Looking beyond the EU, UK Music many activities economically We need to achieve a system urges the Government to address unviable. Workers in the music for continued cultural exchange the growing disparity between industry should either be able between the UK and the EU. the cost and bureaucracy for UK to generate their own income, A reciprocal is artists to perform and tour in or be compensated because necessary. the US and those of US artists Government restrictions make We urge the Home Office to doing so in the UK in any UK / US that impossible. At the moment, operate a simplified system trade negotiations. The US, as a they can do neither. Creative predominantly English-speaking

30 nation is a key export market for UK Music will continue to grow UK music in key markets. the UK but also one in which UK represent its members to Overcoming market access artists arguably face some of the improve the way creators issues, whether its impediments competition. and those who invest in them to copyright licensing or ensuring are rewarded and that their performers can enter without copyright protection. copyright is properly protected. unnecessary bureaucracy should Copyright provides a means This includes working with be prioritized as part of the for creators to monetise their Government to address stream- negotiations. work and gives incentives for ripping which, according PRS Government funding for export investment in talent. Copyright for Music, has increased by support should also continue infringement remains a major 1390% in the last three years and be extended. Established in challenge for our industry. As and accounts for 80.2% of the 2013, the BPI-administered Music does securing value from most popular piracy , as Export Growth Scheme (MEGS) online services for the use of well as ensuring infringement is continues to be a successful music. classified as an economic harm. part of growing UK sales abroad. The UK Government should use Another excellent example of its new-found freedom from the work to help boost overseas leaving the EU to create its own support. trade is the PRS Foundation’s laws by developing the strongest International appetite for UK International Showcase Fund. copyright framework in the music content has continued Other innovative ideas to world and, equally importantly, throughout the COVID-19 support overseas trade during uphold strong copyright pandemic. We need to harness the COVID-19 pandemic should protection in all future trade this demand for UK music across also be explored. agreements. By doing so the UK the world and reap the benefits could become a cultural hub and of it. talent pipeline. act as the global destination to Following the UK’s formal Investing in talent is the key perform, record and do business. departure from the EU in 2020, to producing the stars of the This is even more important supporting and growing the future. That means nurturing given the strength of the UK UK’s music industry overseas is the UK’s talent pipeline which is music industry as a net exporter. more important than ever. New already threatened by the drop The Government needs to set free trade agreements present in the number of young people out how it intends to ensure an opportunity to secure this. studying music at both GCSE and online platforms behave Whether it’s the USA, the EU, A-Level. , or , responsibly and take action to To help tackle that drop, the there are now new opportunities prevent illegal content appearing Government should press ahead on their services. to strike exciting to

31 with its proposals to formulate fiscal incentives. a new National Plan for Music Specific tax incentive schemes Education. The existing plan - for music production or designed to set a framework for composition are in how schools, local authorities other countries with strong and teachers support music in music sectors notably , education - was published in many US and Canadian states, 2011 and expires in the current Australia and Ireland. The UK academic year. currently has no such incentive. The Government should devolve This puts the UK at a competitive more powers to help talent disadvantage. development across the , In response, UK Music is regions and nations across the developing proposals for a tax UK. With support from UK Music, that would incentivise Sheffield and Liverpool city investment in the next regions have developed Music generation of world class music Boards with similar plans being talent in the UK, and encourage developed with the Greater inward investment into capacity Manchester City Region as well. , professionalisation, Other areas can benefit from investment and growth that music strategies but it needs would be especially useful to collaboration from Government our large number of SMEs, too to make sure the right microbusinesses and sole framework is in place. traders. This would correct existing market failures within The Government should also the UK sector, help re-capitalise support greater provision of COVID-19 stricken businesses rehearsal spaces throughout the looking to bounce back, boost UK. It is vital that everyone from the attractiveness of investing whatever background has the in UK based content against chance to access our international competitors, and develop a career in the music

support new UK talent and © Katie Silvester industry. incentivise activity in all parts of the UK commercial music sector. Joy Crookes | Crookes Joy

32 methodology. 6Pre-COVID-19, our intention this calculate the results in terms tickets for music concerts or year was to make relatively few of GVA (Gross Value Added), festivals in the UK, they are changes to the methodology that exports and employment. These contributing to exports, as they was updated last year for Music are the same metrics used by the are non-residents spending By Numbers. The 2019 report Department for Digital, Culture, on the services of residents. combined for the first time the Media and Sport (DCMS). But, in respect of most of the Measuring Music and Wish You exports covered in Music By Were Here reports. As the year While limitations in the Standard Numbers, money moves across progressed, very apparent Industrial Classification (SIC) international borders. That is that reliable economic data is codes apply to data reported non-resident consumers and/or more important now than ever by DCMS, these limitations do businesses are making purchases before. not apply to the results that we outside the UK which, through a report in Music By Numbers. wide range of channels, transfer The scope, definitions and back across international borders For live music exports, we methodology remain the same to UK-based businesses. as last year. In telling the story restrict estimations of live music behind the numbers, however, exports to expenditures at Export income comprises an we have been mindful in how we gigs or festivals, rather than all unusually large proportion of describe economic contribution expenditures incurred in relation revenue to UK music publishing in 2019 in light of devastating to these events, such as travel and music representatives. impact of COVID-19 in 2020. and , which is covered Therefore, because of this, what in the Music Tourism section in remains as total GVA is less than Data capture this year, even the report. its total export revenue. though seeking to obtain 2019 numbers, was With regard to exports, UK A complete methodology extremely difficult. Many staff Music uses the Organisation is available on the UK Music were furloughed and in an for Economic Co-operation and . industry with a disproportionate Development (OECD) definition level of self-employed workers, of exports, which is recognised small and micro-businesses, this internationally by Governments made the task of data capture all and other agencies. This states: the more challenging. “Exports of consist of sales, barter, or gifts In this report UK Music examines or grants, of goods and services what the UK music industry from residents to non-residents”. generates in terms of value to the UK economy. To do this we For example, when non-residents of the UK spend money on

32 33 This report on the music industry The UK Live Music Group is made up Throughout this project we have received We are especially appreciative to the ONS for has been created on behalf of UK of members of the Association for 7 support from all parts of the music industry allowing us access to the Virtual Microdata Music and its members to highlight (AFEM), Association with this research. Without their collaboration Lab (VWL) which has enabled us to apply a the contribution of the music of Independent Festivals (AIF), and enthusiasm this report would not be bespoke methodology for the calculation industry and music tourism to the UK Concert Promoters Association (CPA), possible. of the music industry’s GVA. The economic economy. Agents Association (TEAA), British analysis was carried out in with We are grateful to the wide range of Association of Concert Halls (BACH), Oxford Economics and a methodological UK Music is the umbrella organisation individuals and organisations that have International Live Music Conference statement is to be found on the UK Music which represents the collective provided datasets essential to this analysis. (ILMC), National Arenas Association website. interests of the UK’s music industry Each member of UK Music has granted (NAA), Production Services – from artists, musicians, songwriters us access to their data and permission to The project is managed by Andy Edwards, Association (PSA) and Music Venues and composers, to record labels, survey their own membership. In addition, Director of Research & Analysis at UK Music. . Trust (MVT) with contributions from managers, music publishers, accountants of some the UK’s leading music

PRS Foundation, MU, MMF and FAC. Barda © House - Clive | The Royal For all media enquiries contact: studio producers, music licensing acts have provided valuable information to Vincent Moss & Jennifer Geddes organisations and the live music allow us to complete this work. We would also [email protected] industry. The members of UK Music like to thank the Music Industries Association [email protected] are: AIM, BPI, FAC, Ivors Academy, (MIA) for their support. MMF, MPA, MPG, MU, PPL, PRS For For all policy enquires contact: We would also like to thank for their Music and the Live Music Group. Tom Kiehl, Felicity Oliver & Matt Bold assistance a number of ticketing agents [email protected] across the country, who have been integral [email protected] in contributing to this project, as well as the [email protected] music creators and businesses for donating their time in order for us to present our case For all research enquires contact: studies. Andy Edwards [email protected] We are pleased to continue working with the Intellectual Property Office (IPO), The This document was designed by Department for Digital, Culture, Media and Beatriz Ribeiro at UK Music Sport (DCMS) and the Office for National All written material copyright © UK Music Statistics (ONS) on this project. 2020 except where otherwise indicated UK Music Savoy Hill House 7-10 Savoy Hill London WC2R 0BU T: 020 3713 8444 Twitter: @UK_Music Email: [email protected]

Hongni Wu and Thando Mjandana in the Jette Parker Young Artists Summer Performance Young Parker and Thando Mjandana in the Jette Hongni Wu Website: www.ukmusic.org

34 35 acknowledgments. Throughout this project we have received We are especially appreciative to the ONS for 7 support from all parts of the music industry allowing us access to the Virtual Microdata with this research. Without their collaboration Lab (VWL) which has enabled us to apply a and enthusiasm this report would not be bespoke methodology for the calculation possible. of the music industry’s GVA. The economic analysis was carried out in partnership with We are grateful to the wide range of Oxford Economics and a methodological individuals and organisations that have statement is to be found on the UK Music provided datasets essential to this analysis. website. Each member of UK Music has granted us access to their data and permission to The project is managed by Andy Edwards, survey their own membership. In addition, Director of Research & Analysis at UK Music. . accountants of some the UK’s leading music For all media enquiries contact: acts have provided valuable information to Vincent Moss & Jennifer Geddes allow us to complete this work. We would also [email protected] like to thank the Music Industries Association [email protected] (MIA) for their support. For all policy enquires contact: We would also like to thank for their Tom Kiehl, Felicity Oliver & Matt Bold assistance a number of ticketing agents [email protected] across the country, who have been integral [email protected] in contributing to this project, as well as the [email protected] music creators and businesses for donating their time in order for us to present our case For all research enquires contact: studies. Andy Edwards [email protected] We are pleased to continue working with the Intellectual Property Office (IPO), The This document was designed by Department for Digital, Culture, Media and Beatriz Ribeiro at UK Music Sport (DCMS) and the Office for National All written material copyright © UK Music Statistics (ONS) on this project. 2020 except where otherwise indicated UK Music Savoy Hill House 7-10 Savoy Hill London WC2R 0BU T: 020 3713 8444 Twitter: @UK_Music Email: [email protected] Website: www.ukmusic.org

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