This year, Jordan Adetunji’s Kehlani took the world by storm. As the dust settles, the Belfast-raised rising star reflects on the mark made by his Grammy-nominated hit, the importance of building a discography and what having a ‘TikTok song’ really means… INTERVIEW: MIRANDA BARDSLEY I had lots of small moments before Kehlani went viral, but nothing was as big as this. Those moments kept me going, I always had a feeling that I would get there with just one more song… and Kehlani was the one. “Since releasing it, the song has just been reignited again and again. At first, it was the storyline around it – I was like, ‘I’m not going to stop posting about it on TikTok until Kehlani herself does a video to it!’ – then there was the dance that people were doing, then people like Kim Kardashian did something with it, then it was big in Spain and globally. It just kept getting bigger. “But one thing that I’ve noticed from all of this, is when it comes to going viral, the song itself always matters. A track could go viral if it’s a meme or because it works on TikTok just as a sound, then it drops off slowly. But with Kehlani, because of the fact that it’s a good song, it has lasted. It is embedded in culture now. “People might say, ‘Oh, it’s just a TikTok song’, but how can it be when it’s being played on radio every day or is in the charts for so long? There is a difference between a TikTok song and a global song, but either way, it’s still real people listening to it. That’s why Kehlani has stayed so long; people like it – it’s that simple. “With the Grammy nomination, I’m definitely still processing that! I was in the studio when I found out, but when I first saw it I just thought it was a prediction list so I didn’t take it in. Then people started phoning me and I was like ‘Oh, this is real…!’ I love it. “For me, it’s all about consistency. I’ve tried to keep consistent throughout the last few years, set my boundaries and not let any noise distract me from the main goal. I’m not saying you shouldn’t celebrate the good things, but when you’re an artist the job never stops, so you just have to keep going. “Since breaking through, I’ve never really had any pressure about staying in one sound or having the next hit, especially from my label. When I first met Kevin [Liles, former 300 Entertainment CEO], he was really interested in my track Go, which was part of the Jersey club sort of stuff I was doing before. That’s partly why I went with 300, because they looked back and were interested in my discography, not just one of my records. “One thing I always say to people, to artists, is that other people will try to put pressure on your art, but sometimes it’s just not going to happen. At the end of the day, music is music. Especially if you get a breakout [song], those moments are important, but continuously trying to chase the same numbers or the same sound holds back your creativity. So I don’t even bother with all of that and I don’t listen to that pressure. “You can see if something stands the test of time; you’re winning if you have people coming to your shows and supporting you and love your discography, not when you have one song and then just ride off that one song. “That’s what labels need to see – if an artist is persistent, especially online, that is a good thing. It shouldn’t just be like, ‘They need a hit…’ and if they don’t have one, you’re quick to dash them away. The hit could come, especially if they’re good and have had a viral video here and there, that means they’re constantly trying new things, which is artist development in itself. “We’re in a place now where the audience also plays the role of the A&R – they can say what they like and don’t like – so I think we need to let artists be artists, and if they’re posting, being creative and putting their content out, that can only be a good thing. “I was always just focused on being ready for my big moment when it came. I was always putting content out, I was sticking to a release plan, and that’s exactly what I do now. I’m always posting little snippets of what I’m doing; I treat social media like a little diary – if something goes off, great, if it doesn’t, cool! Some people might still like it and so I might just include it on a mixtape or something. “I feel like I’m just advancing now – I love Kehlani, and my latest single Options [Feat. Lil Baby] is the same sort of sound, but my newer stuff is a bit more R&B-leaning and I’m excited to release more. My main goal, though? To tour, meet people and have my listeners fall in love with the discography.”

2024 Review: Louis Bloom, Lorna Clarke & more on the year in music

It’s time to take stock at the end of one of the busiest years the music business has seen in recent memory. Our special end of year review looks back on it all with an epic collection of reflections from some of the biggest names in the industry. Read on for part 2 of our massive look back, including insight from Louis Bloom, Lorna Clarke, Golnar Khosrowshahi, David Ventura and many more… LOUIS BLOOMPresident, Island EMI Label Group Having won the A&R category at this year’s Music Week Awards, what are your reflections on Island’s success with new acts?“Winning the Music Week A&R award was a real honour for the label and recognition of all we have achieved. It was really gratifying to see the incredible work done by the whole team translating into genuine success across genres. We’re so delighted that The Last Dinner Party are the biggest breakthrough act of 2024 in terms of sales and culture, and Hozier had the biggest-selling, domestically signed song of the year with Too Sweet. It was also brilliant to see English Teacher, another brand-new signing, win the Mercury Prize, for which Nia Archives and The Last Dinner Party were also shortlisted.” Looking ahead, what’s your vision for the merged Island EMI?“To be at the head of the two most legendary labels in British music is a huge honour and privilege. Island is on fire, and both labels have really delivered over the last two years, with EMI also winning the Record Company category at the Music Week Awards in 2023 and 2024. It’s about building on that success and taking it to the next level. The EMI team are really fantastic and although we have only been together for a short period, the energy has been inspiring. The goal is global! We’re not just competing with labels in the UK, we want to compete on the world stage.” What was your track of 2024?“Too Sweet. To have signed Hozier 14 years ago and to watch him grow as an artist has been one of the greatest highlights of my career. Getting his first No.1 single in the UK and the US was a really special moment for all of us at Island and I know it also was for Andrew [Hozier-Byrne] himself.” And your favourite album?“Tyler, The Creator – Chromakopia. Tyler has always been such a brilliant, unique artist. This new album is truly extraordinary, there is so much going on sonically, musically and lyrically. It’s one of those records that will keep revealing new meanings, new artistic highs, the more you listen to it.” LORNA CLARKEDirector of music, BBC You won the Outstanding Contribution honour at our Women In Music Awards this year. But what was your most outstanding contribution to the music industry in 2024, specifically?“It was an honour to win the prize because I stand with everyone else in the room; we have all had to work hard to get where we are. It’s one of my favourite events and it’s encouraging to see all of my peers in one room celebrating each other and doing business at the same time. My main job, this year and every year, is to pull together the pop and classical music teams across radio, TV, digital and live events, and work together to present an unrivalled range of exciting content to our millions of listeners and viewers. In a few weeks this autumn, we had Asian Network Certified, world exclusive concerts for Radio 2 and 6 Music with The Cure, the Boybands Forever series, the return of Later… With Jools Holland and the launch of two new music streams, Radio 3 Unwind and Radio 1 Anthems. Next year is likely to be our busiest yet in music and we’re ready for it.” Do you think the industry fully appreciates the role the BBC plays?“The feedback I get from the industry is that we’re hugely appreciated for what we do. We play as many different tracks on our pop and classical services as we can, whilst shining a light on artists via our myriad services on BBC iPlayer, Sounds, our radio stations or BBC Introducing. No other broadcaster is as distinctive or as committed to building artists. This year, we had a record-breaking Proms season of 90 shows, including the incredible concerts featuring disco, Sam Smith and the Florence Proms. Our Radio 2 event took its presenters and Sting and The Pet Shop Boys to Moor Park in Preston, 6 Music Festival featured The Smile, Gossip and Young Fathers in Manchester, Radio 1’s Big Weekend took Raye and Coldplay to Luton, and the Proms visited Gateshead, Bristol and Nottingham.” What was your track of 2024?“Fear When You Fly by Cleo Sol. This track takes her to another level.” And your favourite album?“Cowboy Carter by Beyoncé. She continues to reinvent and kick down creative doors.” GOLNAR KHOSROWSHAHIFounder/CEO, Reservoir Name the best deal you made in 2024 and why? “Welcoming both Snoop Dogg and KD Lang to the Reservoir roster were career and company- defining moments. These artists are the best of the best and I am continuously in awe of the calibre of talent that calls Reservoir their home.” Reservoir reported a 6% increase in revenue year-on year. How do you keep growing? “Our organic growth is wholly attributed to our value-enhancement capabilities. With a strong team and a manageably sized catalogue, we are able to be more focused on pitching and securing opportunities across the board.” What was your track of 2024? “Espresso. I am a huge fan of our songwriter Steph Jones, who co-wrote it, and she helped craft this juggernaut of a song that will forever be part of the zeitgeist of 2024.” And your favourite album? “Joni Mitchell’s latest Archives release – Volume 4: The Asylum Years. It was the perfect precursor to seeing her live at the Hollywood Bowl in October, which was a truly unforgettable and monumental night.” DAVID VENTURAPresident & co-managing director, UK/SVP International, Sony Music Publishing What was the cornerstone of your A&R strategy across 2024?“Relentlessly keeping in mind that songwriter and artist development takes time. The music market has never been so fast-paced, but A&R is taking a minute and we need to stay focused on our primary mission for creators. We need to give them the space and time to express and improve their art, and provide them the support and resources they need on a daily basis. Our mission is to pass on our knowledge to the new generation of A&Rs and to remind them that the algorithm isn’t everything.” Can you name the best writer or producer of 2024 not on your books?“Max Martin, who every year surprises us with his immense talent.” What was your track of 2024?“Prospa – Motions, simply because it’s right up my street!” And your favourite album?“Ezra Collective – Dance, No One’s Watching. It is a piece of art, an album that you stop everything you are doing to listen to. Pure bliss.” NEGLA ABDELA Managing director, Ministry Of Sound What was the most exciting tech advancement you clocked this year?“This year there has been a big leap in data analytics tools for audience insights and fan engagement. We can now better understand audience behaviour with a precision we didn’t have before through having more access to real-time insights. This helps us better serve our artists and develop more effective release strategies to build closer, more authentic connections between our artists and their listeners.” Which single issue bugged you the most in the business this year?“I’m not a fan of AI DJs or AI-driven personalised music recommendations. I don’t believe they are mature enough to be super-personalised to each user’s taste yet, and I believe they’re creating an even more passive audience who aren’t connecting with artists on a deeper level. I believe that in an AI-driven world, there will still be a need for tastemakers and cultural curators if we want to continue to break artists of significance and influence.” What was your track of 2024?“I have two – Not Like Us by Kendrick Lamar and Billie Eilish’s Birds Of A Feather.” CHRIS DEMPSEYCorduroy Artists Earlier this year, you spoke to Music Week about Take That’s Malta festival being “a learning experience”. How do you reflect on it now and what did you learn?“It was awesome, fans absolutely loved it. It felt intimate and exclusive for the 7000 people that came but at the same time, the gigs felt big. I think the all-round experience was excellent, but we know we can improve on a couple of elements of local infrastructure and add a bit more to the creative to make it feel even more special next time. And there will be a next time. It was nice to see a few promoters not connected to the event over there checking it out and doing their own research.” How do you think the art of management changed in 2024?“I think it just became very, very evident, if it wasn’t already, that it will be primarily artist managers finding and developing the future stars.” What was your track of 2024?“It’s hard to nail one. Speyside by Bon Iver was pretty moving, BMG Academy by Anna Erhard makes me laugh – it’s so clever and yet silly. She’s brilliant.” And your favourite album?“Name Your Sorrow by Pillow Queens – they’re massively underrated. It’s so well produced, such great songwriting and has a great alternative swagger.” KIM BAYLEYCEO, ERA ERA has long tracked fan behaviour trends, how significant is the industry’s new focus on superfans? “ERA first identified the potential of superfans as a growth driver for the music industry as far back as 2018, so it has been a very welcome development this year to see both Universal and Warner prioritising this segment. I passionately believe that the best route to those superfans is via existing digital platforms and retailers, and we look forward to working with labels to make the most of this opportunity.” With the impact of both the Eras Tour and The Tortured Poets Department album, how did Taylor Swift help music compete with other entertainment mediums such as gaming, TV and film this year?“Taylor Swift personifies the 21st-century pop star. She is fiercely independent, but committed to working with experts to make the most of her career, which makes her longstanding support of Record Store Day and of physical as well as digital formats both gratifying and something which should send a strong message to the music industry.” What was your track of 2024?“I’m partial to a big emotional song, so it has to be Benson Boone’s Beautiful Things. It’s a great motivator on a cold morning!” And your favourite album?“Shaboozey’s Where I’ve Been, Isn’t Where I’m Going shows there’s a lot more to him than the mega single A Bar Song (Tipsy).” PAUL SMITHVP, A&R and global creative, Warner Chappell Music UK Which producers are you most excited about right now?“Jon Shave and Couros are making some amazing forward-thinking pop music; but I’m also loving seeing some fresh talent come through like Tobre, Janeva, Barnabas and Jamie Rendle.” Where in the UK is producing the most exciting new talent in your opinion?“The North! Manchester has always been, and continues to be, a great place for a talent spot – both new artists and some great writers/producers are coming through.” What was your track of 2024?“Bet by Mette – an earworm with a chanty sing-along chorus, genius production by Zhone, and Mette being an absolute superstar, as per.” And your favourite album?“Mental by Yseult.” JOHN GIDDINGSFounder, Solo Agency Tickets were in high demand throughout 2024. Would you characterise this period as a boom for live music?“There’s been incredible demand this year. Oasis is just one example – that was totally unprecedented. But there’s also the likes of Taylor Swift and Coldplay, too. So it’s been a really phenomenal year for live music and ticket sales, for sure, and it’s incredibly reassuring to see people’s appetite for these live experiences. In terms of sustainability going forwards, judging by the ticket sales for next year already, and knowing some of what is still to come, it feels like 2025 could be even bigger.” Could all of this come at the expense of successful UK festivals?“I don’t think so. There will always be an appetite for music festivals in the UK and they bring something completely different. There’s so much on offer at festivals and UK audiences connect with them on a very deep level.” What was your track of 2024?“Die With A Smile by Bruno Mars and Lady Gaga. Incredible vocal chemistry.” And your favourite album?“Beyoncé’s Cowboy Carter. This album put her in a totally new league.”