handbook music industry

UK Export Handbook 1

EUROPEAN MUSIC PLATFORM

UK EXPORT HANDBOOKPrepared for the European Music Platform

by IMPALA - Independent Music Companies Association


INTRODUCTION.............................................................................................................................. 6

I) GENERAL INFORMATION ON THE COUNTRY ..................................................................... 6

Geographical and historical overview.............................................................7

Population....................................................................................7

Leisure habits.........................................................................................7

Internet................................................................................................8

Broadband.............................................................................................8

Cultural policy........................................................................................8

II) THE PHONOGRAPHIC MARKET ................................................................................................... 9

1) Music market 9- Global and national position............................................................................................................... 9- Music genres ........................................................................................................................................ 11- Music buyers ........................................................................................................................................ 14- New music formats –Internet, mobile, DVD.................................................................................. 15- Internet ................................................................................................................................................ 15- Mobile ................................................................................................................................................... 16- Piracy.................................................................................................................................................... 17

2) Record Companies................................................................................................................. 18

3.Distribution and retail 21- Overview to selling records in the UK............................................................................................. 21- Distribution, import, wholesale ....................................................................................................... 22- Retail .................................................................................................................................................... 23

4) Publishing ................................................................................................................................ 27

5) Media 28- Press...................................................................................................................................................... 28- Radio ..................................................................................................................................................... 29- TV 30- Media advertising................................................................................................................................ 32

6) Live/touring/clubs 32

7. Sales certifications and awards ......................................................................................... 33

8. Trade Fairs 34

9. Trade organisations and institutions ................................................................................ 34


III) MUSIC GENRES .................................................................................................................. 37

POP 371) Situation of the music genre .......................................................................................................... 372) Majors ................................................................................................................................................. 373) Independent labels........................................................................................................................... 374) Publishers........................................................................................................................................... 415) Distributors ........................................................................................................................................ 426) Retailers ............................................................................................................................................. 427) Clubs ................................................................................................................................................... 438) Festivals ............................................................................................................................................. 439) Managers ............................................................................................................................................ 4310) Bookers/Promoters ........................................................................................................................ 4311) Specialized media (press, radio, TV) .......................................................................................... 44

Rock 451)Situation of the music genre ........................................................................................................... 452) Majors ................................................................................................................................................. 453) Independent labels........................................................................................................................... 454) Publishers........................................................................................................................................... 485) Distributors ........................................................................................................................................ 496) Retailers ............................................................................................................................................. 507) Clubs ................................................................................................................................................... 508) Festivals ............................................................................................................................................. 509) Managers ............................................................................................................................................ 5010) Bookers/Promoters ........................................................................................................................ 5111) Specialized media (press, radio, TV) .......................................................................................... 51

Electronic-Dance 521) Situation of the music genre .......................................................................................................... 522) Majors ................................................................................................................................................. 523) Independent labels........................................................................................................................... 524) Publishers........................................................................................................................................... 565) Distributors ........................................................................................................................................ 576) Retailers ............................................................................................................................................. 577) Clubs ................................................................................................................................................... 578) Festivals ............................................................................................................................................. 589) Managers ............................................................................................................................................ 5810) Bookers/Promoters ........................................................................................................................ 5811) Specialized media (press, radio, TV) .......................................................................................... 58

Hip-Hop and R&B 601) Situation of the music genre .......................................................................................................... 602) Majors ................................................................................................................................................. 603) Independent labels........................................................................................................................... 604) Publishers........................................................................................................................................... 635) Distributors ........................................................................................................................................ 646) Retailers ............................................................................................................................................. 647) Clubs ................................................................................................................................................... 648) Festivals ............................................................................................................................................. 649) Managers ............................................................................................................................................ 6410) Bookers/Promoters ........................................................................................................................ 6511) Specialized media (press, radio, TV) ......................................................................................... 65


Jazz 661) Situation of the music genre .......................................................................................................... 662) Majors ................................................................................................................................................. 663) Independent labels........................................................................................................................... 664) Publishers........................................................................................................................................... 685) Distributors ........................................................................................................................................ 696) Retailers ............................................................................................................................................. 697) Clubs ................................................................................................................................................... 698) Festivals ............................................................................................................................................. 699) Managers ............................................................................................................................................ 7010) Bookers/Promoters ........................................................................................................................ 7011) Specialized media (press, radio, TV) .......................................................................................... 70

Reggae 711) Situation of the music genre .......................................................................................................... 712) Majors ................................................................................................................................................. 713) Independent labels ......................................................................................................................... 714) Publishers........................................................................................................................................... 725) Distributors ........................................................................................................................................ 736) Retailers............................................................................................................................................ 737) Clubs ................................................................................................................................................... 738) Festivals ............................................................................................................................................. 739) Managers ............................................................................................................................................ 7410) Bookers/Promoters ........................................................................................................................ 7411) Specialized media (press, radio, TV) .......................................................................................... 74

Metal 751) Situation of the music genre .......................................................................................................... 752) Majors ................................................................................................................................................. 753) Independent labels........................................................................................................................... 754) Publishers........................................................................................................................................... 765) Distributors ........................................................................................................................................ 766) Retailers ............................................................................................................................................. 777) Clubs ................................................................................................................................................... 778) Festivals ............................................................................................................................................. 779) Managers ............................................................................................................................................ 7710) Bookers/Promoters ........................................................................................................................ 7711) Specialized media (press, radio, TV) .......................................................................................... 78

Folk/Celtic/Blues/Country 791) Situation of the music genre .......................................................................................................... 792) Majors ................................................................................................................................................. 793) Independent labels........................................................................................................................... 794) Distributors ........................................................................................................................................ 825) Retailers ............................................................................................................................................. 826) Clubs ................................................................................................................................................... 827) Festivals ............................................................................................................................................. 838) Managers ............................................................................................................................................ 8310) Bookers/Promoters ........................................................................................................................ 8311) Specialized media (press, radio, TV) ......................................................................................... 84


World 851) Situation of the music genre .......................................................................................................... 852) Majors ................................................................................................................................................. 853) Independent labels........................................................................................................................... 854) Publishers........................................................................................................................................... 875) Distributors ........................................................................................................................................ 876) Retailers ............................................................................................................................................. 887) Clubs ................................................................................................................................................... 888) Festivals ............................................................................................................................................. 889) Managers ............................................................................................................................................ 8810) Bookers/Promoters ........................................................................................................................ 8911) Specialized media (press, radio, TV) .......................................................................................... 89


Introduction

This handbook is intended to provide music professionals with an overview of the current UKmusic market1. It is not an exhaustive guide on how to have hits in the UK. That would be animpossible task as there are no “one size fits all” formula or indeed any guarantees of success in any territory. We also have to remember the diversity within the UK itself, which is in factmade up of different regional and national “markets” each with their own dynamics.2 Finally,there is fact that the UK market is one of the fastest moving in the world. Although thisprovides opportunities for cutting edge artists and genres that may not exist to the same extentelsewhere, it also means any “hits recipe” would be out of date almost as soon as it was written.

Chapter 1 provides some background information on the country. Chapters 2 and 3 concentrateon setting out current market statistics and trends in terms of labels, distributors, retailers,publishers, media, trade fairs, sales certifications and trade organisations. Chapter 3 alsoincludes a brief overview of selling records in the UK. Chapter 4 provides some detail on whodoes what in certain genres. Chapter 5 sets out the contact information for the music businessin the UK including labels, distributors, publishers, radio, television, professional organisations.

I) General information on the country

Total area 242 500 km²Total population 58 789 194

English population 49,561,800Scottish population 5,054,800Welsh population 2,918,700Northern Irish population 1,696,600

CapitalsEngland LondonWales CardiffScotland EdinburghNorthern Ireland Belfast

GDP $1775 billionUnemployment rate 4, 7%Employment rate 74, 9%Main cities

London 7 188 000 habitantsManchester 2 482 800 habitantsBirmingham 976 400 habitantsLeeds 715 000 habitantsGlasgow 578 000 habitants

Internet access49%Expenditure on recreation and culture3 18.4%

1 This guide is intended to be up to date to the end of 2003. It includes statistics for the complete year 2003, whichwere published during 2004. Thanks go to AIM, BPI, FMO, MMF, MPA, IFPI and IMPALA for providing information andstatistics for this guide.2 Just one example would be Scotland – we would recommend reading the overview on this territory in the FMO’s 2002-2003 Report The British Music Market in Comparison with the French Music Industry.3 As a proportion of total household expenditure. Includes spending on all recreational and cultural activities (i.e.inclduing TVs, computers, newspapers, books, leisure activities and holidays, for example). Office for NationalStatistics’ Report Family Spending, a report on the 2002-2003 Expenditure and Food Survey.


Geographical and historical overview

Great-Britain is a constitutional monarchy and has been a European Union member since 1973.The capital is London and the currency is the pound sterling (GBP). The United Kingdomconsists of England, Scotland, Wales and Northern Ireland. Here are a few important events inthe history of the UK over that last 50 years or so:

1948: The Irish Republic left the UK Commonwealth.1952: Coronation of the current queen, Elizabeth II.1972- United Kingdom became a part of the European Communities.1979- 1990: Margaret Thatcher’s conservative government was in place.1985: A treaty was signed between United Kingdom and Irish Republic about Ulster.1990: New Tory prime minister was elected –John Major.1993: the EU’s Maastricht treaty was signed despite a strong opposition.1994: Channel Tunnel was opened.1997: Labour party and Tony Blair won the election.1997: Referendums approved creation of independent parliaments in Scotland and Wales in2000.

PopulationBritish population is quite young compared to other European countries and is still growing. In

2002, (last figures available), the number of British households reached 24, 4 million (50%growth in the last 40 years). The age division of population is as follows:

o 0-15 year-old : 20%o 16-64 year-old : 64%o 65 and over : 16%

The average age is 38,2 years but British population is getting older because of low natality andmortality rates.

For an economic point of view, the active British population counts more than 29 millionpeople. The working market in Great Britain is characterized by a high-level activity (78, 7% atthe end of March 2004), a high employment rate (74, 9% at the end of March 2004) and a lowunemployment rate (4, 7% at the end of March 2004).

Leisure habitsIn 2002 the General Household Survey4 collected data about adult participation in a range ofselected leisure activities. The most popular of the selected activities was watching television(99%), followed by listening to the radio (88%). These participation rates have been constantsince 1996. The proportion of adults who said they listened to records or tapes has increasedsteadily over the last 25 years from 62% in 1977 to 83% in 2002. The proportion of adults whoread books was the same in 2002 as in 1996 (65%).

In terms of adult participation in the arts, it was reported that:- 11% had sang or played a musical instrument;- 11% had danced;- 9% had painted, or drew or did printmaking or sculpture;- 4% had written stories, plays or poetry;- 3% had voluntarily helped with the running of an arts/cultural event or organisation; and- 2% had performed in a play, drama or rehearsed for a performance.

There were differences in participation rates in the arts by age and sex. Men and women in theyoungest age group (16 to 19) were the most likely to have performed in a play, painted or

4 Office for National Statistics, General household survey 2002.


written stories, plays or poetry. Participation rates for performing in plays and paintingdecreased with age. Women were nearly twice as likely as men to have been dancing (14%compared with 8%). Women were more than twice as likely as men to have attended a leisureor recreational class (10% of women compared with 4% of men).

In terms of expenditure, in 2002-2003, spending on recreation and culture represented thesecond outgoing. Households would on average pay out £56 every week on TVs, computers,newspapers, books, leisure activities and holidays.5 The percentage of total householdexpenditure on leisure goods and services would account to 18.4%.

InternetIn the first quarter of 2004, 49 %6 of households in the UK (12.1 million) could access theInternet from home, compared with just 13 % (3.2 million) in the same quarter of 1999.

Internet use is becoming more and more popular. 56 % of adults in Great Britain had used theInternet in April 2004. The most common use among this group was e-mail (85 %). Half of alladults who had used the Internet in the three months prior to interview in April 2004 used it toorder tickets, goods and services. Just over a quarter of adults in Great Britain (26 %) accessedthe Internet everyday or almost everyday, while only 4 % accessed the Internet less than once amonth.

However, 39 % of adults had never used the Internet. Of these, 48 % stated that they did notwant to use, or had no need for, or no interest, in the Internet; 38 % had no Internetconnection; and 35 % felt they lacked knowledge or the confidence to use it. These adults werealso asked which of four statements best described what they thought about using the Internet.55% of non-users chose the statement 'I have not really considered using the Internet beforeand I am not likely to in the future'. This group of non-Internet users represented 22 % of alladults in Britain.

Broadband15% of households with internet have a broadband access (but it is 98% in the cities and only 2%in retired areas). The number of households with broadband accesses is increasing. This is seenas the key to large scale take-up of digital services. Even though the British government policyhas always been to restrain its intervention in the broadband market, this changed in 2000when a study from the Ovum consulting revealed that the UK’s low spend per inhabitant compared to other countries. To improve this situation, the government created a 44 millionfund (UK Broadband Fund) for regional development.

Cultural policyThe Department for Culture, Media and Sport (DCMS) is responsible for Government policy onthe arts, sport, the National Lottery, tourism, librairies, museums and galleries, broadcasting,film, the music industry, press freedom and regulation, licensing, gambling and the historicenvironment. DCMS sponsors the music industry acting as its advocate within Government. TheDepartment works with a wide range of industry players and trade associations with the aim ofidentifying what can be done to improve the music industry's economic performance and toensure that the industry's concerns are considered in broader Government policy making.

Industry-government partnerships exist, such as the Music Export Group. This gathers variousgovernment departments such as DCMS, Department of Trade and Industry, the Foreign Office,the British Council and the trade associations. The Forum works on various export issues,including the possible creation of a US office. The government’s export facilitation body, Trade Partners UK (TPUK) together with the main record company trade associations, AIM and BPI

5 Total household spending in the UK averaged £406 per week in 2002-2003. Office for National Statistics’ Report Family Spending, a report on the 2002-2003 Expenditure and Food Survey.6 Figures from the Office for National Statistics, study published June 29th 2004.


have also appointed a music export promoter, Phil Patterson, to work with TPUK and theindustry to help develop international business opportunities for the industry.

Another example of such partnerships is the new Creative Industries Forum on IntellectualProperty, a cross-government group, launched at the end of July 2004. these industriestogether contribute £54,8 billion to the UK economy. The Forum brings together government,non-government and representatives from the creative industry. It includes representativesfrom film, music, publishing, design, computer games, telecoms companies, hardwaremanufacturers and consumer groups. The Forum will attempt to determine how to approachthe opportunities and threats that rapid technological developments are generating for thecreative industries.

Music industry professionals have, however, mixed views about how the UK governmentsupports culture and cultural industries in practical terms. They are concerned that concretesupport measures especially for creative industries and music are few and far between.

II) The Phonographic Market

1) Music market

- Global and national positionThe UK is the third largest market in the world for sales of recorded music, while the USA andJapan rank first and second. The UK represents 9,3% of world sales. In 2000, the UK musicindustry was estimated to be worth £3.624 billion with around 5000 singles and 20000 albumsreleased each year and it was the source of 130 000 jobs. As a great source of repertoire, theUK is now second only to the USA. It is estimated that Britain may account for as much as 15%of the global music market.7 The UK industry is dominated by a number of large multinationals- Warner’s, EMI, Universal, BMG and Sony - but 90% of music business can be classified asmicro, small and medium-sized enterprises. The industry's success is founded on the quality anddiversity of talent the UK produces.

Compared to most other international markets, the UK market performed extremely well in2003. In terms of performance of national markets, the table below gives a useful snapshot:

Top 10 MarketsSummaryCountry Retail Value

($US millions)Retail Value% Change

Per Capita.Sales (units)

Per Capita.Sales ($US)

US 11,848 -6.0% 2.7 40.8Japan 4,910 -9.2% 2.0 38.6UK 3,216 0.1% 4.3 53.5France 2,115 -14.4% 2.3 35.1Germany 2,0.41 -17.9% 2.2 24.8Canada 676 -2.9% 1.8 21.0Australia 674 5.9% 3.1 34.1Italy 645 -4.4% 0.7 11.1Spain 596 -9.4% 1.4 14.8Netherlands 499 -5.1% 1.9 30.9

Source: IFPI 2004

7 Figures from the Department for Culture, Media and Sport (DCMS), Creative Industries. 2004.


The IFPI reports that the UK is one of the only music markets in the world where retail valueincreased in 2003 (+0.1%) and amounted to US$ 3,216 m. Retail spending on recorded musiccounts for £2,1 billion and British people rank second only to Norway in terms of money spenton music per head of the population.

Total world sales of recorded music fell by 7.6% in value and by 6.6% in units compared with2002. The global music market was worth US$ 32 billion in 2003. There was a decrease in globalsales of CD albums by 8.9% whereas the singles market decreased to a level comparable to thatof 10 years ago.8

However, there was an increase (+65,4%) in sales of music DVDs worldwide –from 64m units in2002 to 106m in 2003 - and an overall growth of the value of music video by 45.6%.9 The globalvalue of music video on DVD amounted to $US 1.9 billion in 2003.

These changes in format exploitation are usefully explained in global terms by the followingtable:

Global Volume Change by Format 2003

Singles-12,10%

LPs-14,30%

MCs-16,60%

CDs-6,20%

DVD65,40%

VHS-41,80%

-60,00%

-40,00%

-20,00%

0,00%

20,00%

40,00%

60,00%

80,00%

Source: IFPI 2004

The record industry in the UK demonstrated a strong overall performance in 2003. The BPIfound that total industry revenue in 2003 was down slightly to £1.177 billion with the increasingcompetition from other sectors of the entertainment industry. However, the IFPI found thattotal value was up 4% in 2003, while income generated from album sales rose by 3,7% and forthe first time in five years, CD single sales increased by 15,4% by volume and 8,1% by value.10

The issue of declining single sales was addressed by the record industry with, for example, alowering of CD prices, especially. Simultaneously, the music DVD market has doubled its sharein the UK and represented in 2003 a 4% share of the UK music market. Finally, download saleshave reached 2 millions units in 2004.

These positive figures follow a run of musical breakthroughs for the industry, with a new breedof UK talent scoring sales at home and abroad.11

8 IFPI, The Recording Industry in Numbers 20049 IFPI 200410 BPI Quarterly Market Review –August 23 2004.11 For instance, UK artists such as Franz Ferdinand, Joss Stone and the Darkness.


It is also useful to look at the strength of the UK repertoire, as this table demonstrates over thepast few years:

47 47 6

49 45 6

52 41 7

53 40 7

49 46 5

0% 50% 100%

2003

2002

2001

2000

1999

UK Repertoire Origin 2003 (value)

DomesticInternationalClassical

Source: IFPI 2004

Although international repertoire has been constantly increasing on the UK market during thelast years, British music still remains very present in its own country and around the world.Indeed, in 2003 “local” repertoire accounted for 47% of single artist sales (excluding classicaland compilations)12. UK artists account for 47.2% of singles, and 42.3% of albums, withAmerican artists next on 34.6% and 45.4% respectively.13 This is the first year that US artistshave overtaken UK artists in album sales in the UK. On the other hand, a “new British invasion” of overseas markets has been observed, particularly in the US with the success of artists suchas Franz Ferdinand, Joss Stone and the Darkness in 2003.

- Music genres

Unlike in some countries, the UK music market appears to be a highly segmented market, withclear distinctions between genres. The following tables demonstrate album and single salesacross different genres from 1994 to 2003 in terms of units, using the genres as measured bythe BPI:

12 IFPI 200413 IFPI 2004


33,5

28,4

5,7

11

7,2

4,5

34,7

26,9

7

9,9

9,3

36,9

24,5

6,1

10,2

6,3

5

32,4

25,9

8,5

13,3

4,6

4

31,6

27,9

8,8

10,5

6

4,24,2

30,3

31

7,4

9,5

6,1

5,13,5

31,2

29,2

8,4

7,2

6,4

5,53,8

0%

20%

40%

60%

80%

100%

1994 1996 1998 2000 2001 2002 2003

Album Sales by genre 1994-2003 Units % down

Other

World

Folk

Reggae

Country

Jazz

Classical

Hip Hop / Rap

MOR

Dance

R&B

Rock

Pop

Source: BPI 2004, based on Official UK Charts Company data


33,5

18,6

13,4

28

36,2

19,8

18,1

24,2

41

12,7

12

22,2

5,8

39,7

11,3

15,6

27

4,8

42,5

13,7

12,7

20

8,8

51,8

13,4

7,6

15,4

10

38,3

17,1

15,9

15,3

11,1

0%

20%

40%

60%

80%

100%

1994 1996 1998 2000 2001 2002 2003

Singles sales by genre 1994-2003 Units % down

Others

Reggae

Hip-Hop

Dance

R&B

Rock

Pop

Source: BPI 2004, based on Official UK Charts Company data

In 2003, after a dominance of Rock in 2002, Pop returned to take the majority share (31, 2%)and accounted for 22 of the 40 best-selling albums. In the singles market, Pop also returned todomination even though R’n’B reduced Pop’s share in this field.14

With 29.2% in 2003 for albums, Rock was down by 1,8% although there were breakthroughsuccesses such as The Darkness and Evanescence. R’n’B, asserted itself in both the singles and albums markets in 2003. High profile releases from stars such as Beyonce and R Kelly saw thegenre take an improved share of 8,4% in albums (up 1%) and 15,9% in singles (an increase ofover 8%). Hip Hop’s share also improved in both markets (5.5% for album sales and 11.1% for single sales), thanks principally to the outstanding year enjoyed by Black Eyes Peas and 50Cent. Dance saw its sales drop to 7,2%. Reggae, however, grew thanks to artists such as SeanPaul and several successful compilations.

MOR/Easy listening increased its albums share to 6,4% in 2003 thanks to artists such as RodStewart or Eva Cassidy. As for Jazz, Norah Jones again had the best-selling album. Shania Twaindid the same for Country music.

14 And it seems that 2004 is likely to follow this trend, according to the quarterly BPI report from August 23, 2004.


- Music buyers

Market penetration (the proportion of population making one or more purchases per year)decreased again in 2003 in the single market. The 12-19 age group, crucial for the industry,was particularly involved in the drop, with only a quarter of those in the group buying onesingle in 2003, against half of them in 1999. With other groups the fall was less severe, but stillconstant.

Market Penetration. Singles 2002-2003Penetration % Average spend per buyer per year2002 2003 2002 2003

Total 15.8 9.5 £13.30 £12.34

GenderMen 13.4 7.9 £14.76 £14.66Women 18.2 11.3 £12.19 £10.45

Age group12-19 37.6 21.9 £16.15 £11.8720-29 17.5 11.7 £18.73 £16.6230-39 15.0 12.1 £12.15 £10.1240-49 16.8 8.6 £9.84 £12.5950-59 7.5 3.9 £9.60 £12.1060+ 5.1 2.4 £8.28 £8.86

Source: BPI 2004

Market Penetration. Albums 2002-2003Penetration % Average spend per buyer per year2002 2003 2002 2003

Total 57.4 54.8 £73.25 £73.96

GenderMen 58.2 55.0 £84.89 £86.98Women 57.6 55.6 £60.17 £59.79

Age group12-19 65.5 60.5 £87.12 £86.7820-29 62.3 57.2 £92.23 £88.4230-39 61.0 60.9 £68.56 £70.5740-49 62.5 59.8 £73.90 £72.2750-59 52.3 50.4 £69.83 £69.1060+ 42.2 41.3 £48.93 £57.74

Source: BPI 2004

The album market is traditionally less affected by the decrease of people spending. However,2003 also appeared to be a tough financial year for albums as 2003 penetration fell to 54.8%,against 57.4% in 2002, and this across every age group:

On the other hand, as this table shows, the average spend per buyer offers quite differentfigures. First there is a general increase in spend in all groups over 40 years old. Also, averagespend increased generally from 2002 and reached £73.96 for albums per buyer. They also


increased their number of units –7.3 albums and 3.8 singles on average, against 6.9 albums and3.8 singles in 2002.

These figures suggest that although British bought less music in 2003 overall, those that didbought more and spent more.

As mentioned above, British people rank second only to Norway in terms of money spent onmusic per head of the population.

- New music formats –Internet, mobile, DVD

New technologies offer more and more possibilities for music to grow. Broadband internet isexpanding in the majority of households in Great Britain and new digital distribution operatorsare joining existing UK companies in the territory. Several name brands are also joining thedigital music market. Mobile revenues have also increased significantly.

- InternetWith approximately half of all homes in the UK now having a personal computer, the Internethas seen exponential growth never witnessed before in a marketing and sales medium. Such asuccess offer labels in the UK as elsewhere, a significant opportunity to reach millions ofpeople worldwide and to develop important one-to-one relationships with potential customers.However illegal downloading is also an issue in the UK, as it is elsewhere.

At the beginning of 2004, digital had become the second biggest selling music format in the UKsingles market after CD sales. The number of legal downloads sold in the UK in 2004 hasexceeded two millions units. Simultaneously, around one billion tracks are downloaded illegallyper year in the UK.15 Research undertaken in the UK demonstrated the following profile ofdownloaders:

59,90

40,10

10,40

19,00

8,90

21,40 21,50

13,30

5,80

0,00%

10,00%

20,00%

30,00%

40,00%

50,00%

60,00%

Music Downloaders

Profile of music downloaders

MenWomen12 to 1415 to 1920 to 2425 to 3435 to 4445 to 54›55

Source: BPI 2004

15 IFPI 2004 ; BPI 2004


As the table (above) indicates, people aged under 20 only represent 29% of the total share ofmusic downloaders while those aged between 25 and 44 years old currently account for nearly43%. However, the table below shows that downloaders aged under 25 download more tracksthan those aged 25+, which could indicate that music downloading will grow in later years.

9%14%

23%

21%

10%

24%

7%7%11%

21%

17%

38%

0%

20%

40%

60%

80%

100%

Downloader agedunder 25

Downloader aged25+

Number of tracks downloaded end 2003

1-3,4-5,6-10,11-20,21-50,50+,

Source: BPI 2004

- MobileMusic-to-mobile delivery now provides new and innovative offerings for consumers. It alsooffers new business opportunities to manufacturers and network operators. The ringtonesmarket has already reached $US 3.5 billion worldwide in 2003, and the market potential of thissystem is constantly increasing as the penetration of mobile phones in Europe is higher thaninternet connections (except in the Netherlands).

Over the next few years, mobile networks and devices will become a key distribution platformfor music. So far, mobile operators and music companies have developed promotionalpartnerships allowing mobile subscribers to stream and sample new music as well as offeringpersonalized artist-related material via the handset. In the latter part of 2003, mobileoperators, record companies and music-related companies (such as MTV) formed a number ofpartnerships that lead to a wave of new services.

Technological improvements mean that mobile phones are increasingly able to receive andsend more and better quality media content. There is also the development of wireless DRMenabling distribution of content across mobile operator’s networks whilst protecting copyrighted content. Revenues from ringtones in 2003 were 1,390 millions euros but areforecasted to grow to 1,880 millions euros and to 2,400 millions euros in 2005. 16

DVD: While the record industry worldwide is currently suffering sales loss, the growth in salesof DVD has been impressive, as mentioned above. 145m units were sold last year in the UKcompared to 92m in 2002, when it overtook VHS for the first time. The format now accounts for4% of the music market, compared with 1.9% a year ago.

The boost in sales of the format can be explained by a number of important market drivers: thegrowing number of music titles issued on DVD and rising household penetration of appropriateequipment. Retailers are increasingly offering more space and improved merchandising to the

16 BPI 2004


format. On the other hand, this phenomenal growth has been offset by the fall in VHS sales.Volumes have fallen by more than 20% and stood in 2003 at 63.2% of total video sales, whilemusic VHS sales stood at 79.3% the previous year.

Total video sales 1999-2003 MillionsUnits Retail Value

VHS% DVD% Total VHS DVD Total1999 92.0 4.0 96.0 £892 £68 £9602000 97.0 16.6 113.6 £936 £264 £1,2002001 93.5 41.3 134.8 £893 £646 £1,5392002 79.3 89.9 169.2 £745 £1,305 £2,0502003 63.2 145.0 208.2 £537 £1,884 £2,421

Source: BVA

The graph below shows the UK retailers’ market share for DVDs. Despite an overall increase in the market, it is in fact only the internet retailers and supermarkets which have increased theirmarket share with respectively 11.7% and 21.5% of the market in terms of units. The specialistsand the multiple stores have in fact lost market share.

37,3

23,9

16,3

5,710,1

6,6

33,4

22,2

21,5

4,111,7

7,1

36,4

24,2

16,4

6,810,5

5,8

33,2

22,1

21,7

513,2

4,8

0%

20%

40%

60%

80%

100%

2002 2003 2002 2003

% Units % Value

Retailers Market Share. DVD Others

Internet

Mail Order

Supermarkets

Multiples

Music/VideoSpecialists incl.Indies

Source: TNS ‘Audio Visual Track Survey’

- PiracyCommercial piracy is a concern in the UK. Although IFPI puts the figure at below 10% of themarket17, losses are estimated to be £56.1m from the sale of counterfeit CDs alone18. Thevolume increase is estimated to be 22% compared to 200219.

17 IFPI 200418 BPI 2004


The use of recordable CDs (CD-R) has exploded as a result of commercial piracy practices andprivate CD burning. Figures show growing CD-R sales in the UK in recent years. Figures belowshow that, in 2003, out of a total of 364m CD-Rs sold, 57% of them were used for audiorecordings, the majority being unauthorized copies.

251

93

316

133

334

176

364

208

0

50

100

150

200

250

300

350

400

2000 2001 2002 2003

UK Blank Media Sales

Total CD-R/RW mediasales (units m)

Total CD-R/RW mediasales used for homerecording (units m)

Source: U&S

2) Record Companies

Trading in 2003 was a tough business for UK record companies with the increasing pressure onmargins and growing competition from other sectors of the entertainment industry. 2003 was,nonetheless another strong year for the majors as the tables below demonstrate:

20,5

8,7

10,7

11,6

11,7

2,3

34,5

26,6

10

11,4

12,1

8,95,2

25,8

27

19,2

11,5

11,8

7,33,7

19,5

27,9

18,1

11,1

11,1

9,43,2

19,2

0%

20%

40%

60%

80%

100%

2000 2001 2002 2003

UK Record company market share. Singles 2000-2003 %units

OthersMinistry of SoundWarnerSonyEMIBMGUniversal

Source: BPI 2004

19 BPI 2004


23,9

14,4

128,1

11,3

1,5

28,8

26

13,2

12,17,2

12

2,427

26,1

21

11,29

11,22,3

19,2

25,4

18,5

12,8

11,9

11,42,5

17,5

0%10%20%30%40%50%60%70%80%90%

100%

2000 2001 2002 2003

UK Record company market share.Albums 2000-2003 % units

OthersDemonSonyBMGWarner MusicEMIUniversal

Source: BPI 2004

Universal’s success in both the singles and albums market –highest market share for the fifthconsecutive year –relies on its mixture of local and international artists, with 27.9% marketshare for singles and 25.4% albums.20

In the UK album market, EMI came second with 18.5% as half of the top ten albums sold werefrom EMI and also. It came third in the singles market with 11.1%. This was partly due to majorBritish artists, such as Robbie Williams or Coldplay. With 18.1% and 11.9% for the singles andalbums markets, BMG comes right after with such artists as Pink and Westlife (a boy band verypopular in the UK). It is a similar situation for singles sales where EMI has all the biggest sales.

In the UK, the independents have 20% of the market for albums and 22.4% for singles21. IFPIputs the independents overall share in the UK at 19.7%. Across the world, the market shareamongst of the majors and the independents in 2003 is set out in this table:

2003 Territory Market ShareBMG EMI Sony Universal Warner Indies

North America 15,5 10,5 12,1 27,9 15,8 18,2Europe 12,5 17,3 12,1 25,6 13 19,4Latin America 12,2 12,1 19,6 14,7 15,4 26Asia 7,2 14,4 13 15,3 12,2 37,9Australasia 11,7 18,4 16,9 20,3 15,1 17,5South Africa 11,8 21,2 13,1 19,9 0 34World 11,9 13,4 13,2 23,5 12,7 25,3

Source: IFPI 2004

At European level, the independents had 19.4%22. The independents’ music market share at global level was 25.3%. Universal, the absolute leader on US, European and UK markets hadrespectively 27.9%, 25.6% and 27.9% of market share, but ranks second on a global scale with

20 Such as Daniel Bedingfield, Busted, Elton John, 50 Cent, etc.21 BPI 200422 IFPI 2004


23.5%. However, the independents are increasingly losing market shares all over the world suchas in Australasia and Asia and also in Latin America, which was already dominated by majors.23

In the UK, the independent sector is strong collectively with 20.6% of the total market share,but is also very fragmented, with only 5 independent labels registering 1% or more in terms ofalbum market share (units) in 2003.24

The following tables give the market share of the most successful independents in the UK bothfor albums and singles.

Indies market share in the UK. Albums 2000-2003 % units

2000 2001 2002 2003

Demon 1.5 2.4 2.3 2.5

Ministry Of Sound 1.5 2.1 2.2 2.4

Sanctuary 1.0 1.3 1.6 1.7

Telstar 2.3 1.2 1.3 1.2

Beggars Group 0.5 0.6 0.7 1.0

V2 0.6 1.0 1.0 0.9

HNH 0.8 0.6 0.6 0.6Union Square - 0.2 0.2 0.4Hot - 0.4 0.5 0.3Chrysalis Group 0.3 0.4 0.2 0.3Disky Communications - - - 0.2Jazz FM 0.1 0.2 0.2 0.2Roadrunner 0.2 0.3 0.4 0.2Weton Wesgram - - - 0.2Epitaph 0.1 0.1 0.1 0.2Delta 0.2 0.2 0.2 0.2Wall Of Sound - - 0.1 0.2Eagle Rock 0.1 0.1 0.2 0.2Prism Leisure - - - 0.1Beechwood Music 0.4 0.2 0.3 0.1Snapper Music 0.1 0.1 0.1 0.1PIAS - - - 0.1Pickwick - - - 0.1Rosette - - - 0.1Rykodisc - - - 0.1Death Row - - - 0.1Ace 0.1 0.1 0.1 0.1Dramatico - - - 0.1React 0.1 - - 0.1Ninja Tune - - 0.1 0.1Zomba 2.2 1.8 1.2 -Virgin 7.3 6.6 - -

Source: BPI 2004

23 Note that in Japan, for instance, independent labels stand out for more than half of the market and, even thoughthey have lost great market shares in Asia, they still represent 37.9% on the whole continent.24 BPI 2004


Indies market share in the UK. Singles 2000-2003 % units

2000 2001 2002 2003Zomba 5.5 2.9 3.2 -Ministry Of Sound 2.3 5.2 3.7 3.2Sanctuary - 0.1 0.1 2.8Telstar 3.2 1.7 1.6 2.6V2 Music 0.4 1.3 2.0 1.4Beggars Group 1.0 0.7 0.6 1.3Chrysalis Group 0.7 0.7 0.2 0.4All Around The World - 0.3 1.3 1.1Southern Fried 0.2 - - 0.7Better The Devil - - - 0.6Edel 1.5 0.5 1.2 0.6Media 0.2 0.4 0.4 0.3Simply Vinyl - - - 0.3Music Factory 0.2 0.2 0.2 0.3Concept 0.2 - 0.1 0.3Instant Karma - - - 0.3Defected 0.2 - - 0.3Positive - - - 0.2Dramatico - - - 0.2Roadrunner - - 0.8 0.1Full Cycle - - - 0.1Underwater - - 0.1 0.1Zomba 5.5 2.9 3.2 -Virgin 7.2 8.0 - -

Source: BPI 2004

The independents are made up of micro, small and medium sized enterprises and constitute90% of the UK music business. They face different problems that impede their growing. Theseinclude difficulties in accessing funds for development, the standardization of radio play listsand problems securing suitable distribution in order to facilitate access to the retail market.25

The trade association AIM which represents independent UK record companies has beeninstrumental in trying to get these issues addressed.

Sony and BMG are merging in the UK as elsewhere internationally. The independents areappealing the EU approval of the merger because of the impact ot will have on market accessfor competitors.

More information: on specific record companies may be available from AIM and the BPI, twotrade associations in the UK for the recording sector (see more below under TradeOrganisations).

3.Distribution and retail

- Overview to selling records in the UK

25 National Music Council, Counting the Notes, the economic contribution of the UK music business, November 2002.


Before we provide the statistics and information on the current trends in distribution and retailin the UK, it may be useful to give an overview on selling records in the UK. Obviously muchwill depend on the genre, artist, label, ambitions etc but there are a few general points thatshould be borne in mind.26

The UK is one of the largest and most vibrant markets which offers opportunities at manydifferent levels in many different genres. A release in the UK can be important forinternational credibility of the artist. However, it is also one of the most difficult markets tomaster. Competition is fierce and a race to the charts is rarely avoidable except in veryspecialist genres. This is particularly the case for singles where the charts are very fast, beingcompletely sales based and with marketing and pricing focusing on a kind of “opening week” effect.One option is to license a record or an artist to a label in the UK. Where a record is notlicensed to a label in the UK, hiring a distributor or some other means of getting the recordsinto the retail outlets (limited options without a distributor) will be the key, together with agood marketing plan which targets the specialized press, radio, TV, and retailers. Touring isalso likely to be an issue for artists.

Distributors will get the records into the shops and advise on chart rules, manufacturing etc.Some may take on the role of manufacturing and marketing as well. Marketing is vital. Forexample, most singles are accompanies by pre-release campaigns of around 6 weeks whichallow radio to build support, followed by a specific marketing campaign once the record is inthe shops. In fact most distributors will want to see some kind of track record and a marketingplan before they even consider taking on an artist or a label. All this will cost. Again this willvary according to overall aims as well as the sector/genre and whether there are very goodalternative marketing options available such as through the internet.

Obtaining the assistance of an independent press and promotions company and an experiencedradio plugger is also likely to be essential. This may be necessary to create sufficient press andmedia interest to pick up distribution in the first place.

Terms with distributors, labels, publishers, promoters, agents vary enormously according to thetype of deal negotiated. The overseas record label, artists, publishers and writers should beproperly represented in the UK in respect of collecting income from performance on radio, TVetc.The most important step is first of all to understand the particular market and learn who doeswhat in the relevant niche and genre. The information set out below in the Genre Chapters andPractical Guide will be a useful place to start but the music market in the UK is constantlyevolving and it will be essential to check at any one time who are the taste makers and driversfor the task in hand.

- Distribution, import, wholesale

Distribution in the UK is carried out by specialist companies. The majors and the independentshave successful distribution businesses. Many labels specialising in particular genres havedistribution arms to take care of distribution on behalf of other labels in the genre. The sectoralso includes secondary “specialized” distributors and wholesalers. Some act as exclusive supply channels for particular large retailers or as sellers to non-traditional retail outlets, suchas Entertainment UK and Total Home Entertainment. Many distributors also import, export andwholsale, especially in their particular genres.

26 Although intended to be a comparison between the French and UK music markets, the 2002-2003 report by theFrench Music Bureau, The British Music Market in Comparison with the French Music Industry, contains usefulinformation on the UK market and options for marketing.


In 2003, the major distributors, TEN, Universal, EMI and BMG, represented 82% of thedistribution market for albums. Next to the majors, independents companies such as Pinnacleand Vital had respectively 5.5% and 3.2% of the album market and 7.9% and 5.9% of the singlemarket.

In the UK, the overall picture in terms of distribution is set out in these tables:

Source: BPI 2004

Distributor market share. Albums2001-2003 % units

2001 2002 2003TEN 26.3 24.6 25.4Universal 25.5 25.3 25.2EMI 20.7 21.6 19.2BMG 9.2 11.0 12.1Pinnacle 5.1 4.6 5.5Vital THE 2.7 2.8 3.2Others 10.5 10.1 9.4

Source: BPI 2004

- Retail

There are 5600 stores selling music in the UK, from small independent specialist shops tospecialist chains such as HMV and Virgin, to general chains such as Woolworth’s, WH Smith who not only sell records but also books, etc through to supermarkets.

The table below shows the trend of retail by album sales in the UK over the last ten years byretailer type:

34,5

44,8

20,7

0

49,3

36,5

14,20

48

26,7

14,1

11,3

50,2

23,8

12,4

13,6

49,4

20,8

12,1

17,7

46,9

20,3

12,7

20

42,2

22

11,8

23,9

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

1994 1996 1998 2000 2001 2002 2003

Total album sales by type of retailer 1994-2003 % down

Supermarkets

Independents

General Multiples

Specialist Multiples

Source: BPI 2004

Distributor market share. Singles 2001-2003 % units

2001 2002 2003Universal 26.7 28.0 28.6TEN 26.6 22.8 21.8BMG 11.6 20.8 17.2EMI 19.2 11.2 10.7Pinnacle 5.9 5.0 7.9Vital THE 4.0 3.6 5.9Others 6.0 8.6 7.9


The tables below set out the market shares in the retail sector in 2003 for albums and singles:

Individual retailer market share. Albums 2003 %% of Expenditure % of units

Music Specialist 47 45,5HMV 20,9 19,4Virgin Megastores 9 8,2MVC 3,4 3,2Virgin Xpress 2,2 2,1Sanity 1,8 1,7Other 9,6 10,8Supermarkets 21,6 21,9Tesco 9,2 9,1Asda 7 7Sainsbury 2,9 3Safeway 1,1 1Other 1,3 1,7Chains/Multiples 16 14,9Woolworths 11,2 10,5WH Smith 4,7 4,3Other 0,2 0,2Internet 7,5 8Mail Order & Clubs 3,9 4,3Other Outlets 3,9 5,5

Source: BPI 2004

Individual retailer market share. Singles 2003 %

% of expenditure % of units

Music Specialist 45.2 45.4HMV 19.0 18.7Virgin Megastores 13.1 12.6Virgin Xpress 3.4 3.6Other Specialists 9.6 10.5Chains/Multiples 36.7 37.2Woolworths 29.5 30.3WH Smith 7.3 6.9Supermarkets 13.9 13.7Asda 10.2 10.5Tesco 2.9 2.6Sainsbury 0.6 0.3Safeway 0.2 0.2Morrisons 0.1 0.1Internet 2.0 1.8Mail Order & Clubs 0.8 0.6Britania 0.1 0.2Other Mail Order 0.7 0.5Other Outlets 1.3 1.3

Source: BPI 2004


Specialist music retailers: For several years, there has been a decline of traditional musicretailers in the UK (from small record stores to specialist retail chains). They offer clearadvantages such as expertise, customer service, specific genre collections, and exceptionalproduct knowledge. Specialist retail chains such as HMV and Virgin Megastores have strongadvertising and promotional capabilities, strong brand name image and an excellent position tobuild strong allegiances with distributors.

Independent retailers and music specialist stores are still the market leaders with nearly 50% ofthe market in both singles and albums. However, they have also witnessed losses in sales dueto higher unit costs relative to new competitors such as internet retailers and supermarkets.There is also evidence that the lag time between radio/music television and public releasedates may be a contributory factor to downloading as consumers who wish to obtain the musicas quickly as possible, turn to illegal sources rather than wait till official release date1.

Despite losses, music specialist’s chains have 47% of the album market in terms of expenditureand 45.5% in terms of sales for albums. For singles they represent 45.2% in terms ofexpenditure and 45.4% in terms of units.

HMV retained its dominant position on the specialist retailers market with 20.9% market sharefor albums and 19% for singles. In fact HMV is the biggest retailer of albums in the UK acrossthe different retail types.

2003 was the hardest year for independent retailers with 11,8% of albums sales and 8.1% ofsingles sales. The whole retail sector was also marred by the administration of Andy’s Records one of the UK’s longest established independent retailers, the bankruptcy of Tower Records, aUK music megastore and also the announcement by Australian retailer Sanity that it was pullingout of the UK market. On the other hand both Music Zone and Fopp expanded in 2003.

General chains and the multiples: Store such as Woolworths and WH Smith are the secondmost popular places where people purchase music. Within the retail sector, Woolworths hasthe largest proportion of sales for singles with 800 stores and around 29.5% share ofexpenditure. It remains extremely difficult to have a hit single in the UK without the support ofWoolworth’s. Woolworths also has 11.2% share of albums expenditure, the second highest afterHMV.

Supermarkets: As at global level, the trend towards non-specialist retailing can also beobserved in the UK. The supermarket sector witnessed the largest growth in 2003. Unit salesfor supermarkets increased in 2003 by almost 5%. The sectors in the UK now enjoys 21.6%market share for albums in 2003 in terms of expenditure (21.9% units) and 13.9% for singles(13.7% units).2 The main supermarkets are Asda and Tesco. Supermarkets usually attract morebuyers aged over 30. Marketing opportunities more akin to the specialists are now beingoffered by supermarkets, such listening posts and live performances.

On-line distribution: 2003 also saw the continued rise of Internet retailers, from a share of6.8% of unit sales in 2002 to 7.5% in 2003 for albums (singles are 2.0% for expenditure)3.

The UK online music market is as developed as it is in the US but, along with the increasinggrowth of supermarkets in this sector, the rise of music sales over the internet has beenspectacular. For example, the UK’s major digital distribution companyand one of the firstactors of the online music market in Europe, declared in April 2004 that its sales have

1 Jennifer O’Kane,The Tide Is High But They’re Holding On: Are Traditional Music Retailers in the UK All Washed Up?University of Westminster, May 20042 TNS data3 BPI 2004


constantly increased, along with its retail partners including MSN Music Club, HMV VirginDownloads, Coca Cola, etc.4

Traditional retailers have, however, been slow in setting up Internet operations. In terms ofdigital delivery services, the market has been led by UK internet “start-ups” such as Recordstore, OD2, Playlouder and Wippit. However, 2003 saw more investment by traditionalretailers as well as the arrival of Apple, whose iTunes Music Store is clearly dominating themarket with a 75% share of the online download market worldwide.5 2004 should also be aturning point for the industry as US-based services are expected to launch in the UK, such asNapster, Sony, MusicNet, etc.More and more business deals are being made between labels and distributors such as Wippitwhich has recently signed a label licensing agreement with BMG, to add to its existingdistribution agreement with EMI and also independent labels, for its new pay per downloadwebsite.Additionally to “standard” music downloading, mobile music has also turned into reality with OD2’s launch of its download to mobile service in 2003, allowing mobile users to downloadmusic and transfer files to a player device manufactured by Siemens. There have been furtherannouncements by broadband providers, such as Earthlink, of partnerships with online musicservices to offer packages to subscribers. Coca Cola has launched a service like that on an OD2platform called mycokemusic.com in the world. T-Mobile also intends to offer ringback tones toUK consumers which cannot be transferred to other devices. The ringtone market has beengenerating revenues for labels and music publishers, and is a mainstream part of the musicbusiness.

Mail order: Buying music by-mail order and clubs is not a particularly popular way of buyingmusic in the UK but nonetheless this accounts for 3.9% in expenditure and 4.3% in units6. Thesector is dominated by its biggest operator Britannia, which has 2.2% of the total UK retailsector for albums in terms of expenditure and 2.3% in terms of units.

Retail prices: In 2003, the average price paid by UK consumers for a single was £3.22 and£10.20 for an album:

Average prices paid for singles by type of retailers 1999-20031999 2000 2001 2002 2003

Total £3.14 £3.20 £3.33 £3.51 £3.22Music Specialists £3.17 £3.26 £3.39 £3.51 £3.20Chains/Multiples £3.03 £3.18 £3.21 £3.49 £3.18Supermarkets £3.05 £2.73 £3.38 £3.39 £3.28Other outlets £2.55 £3.03 £4.00 £4.72 £3.18

Source: BPI 2004

Average prices paid for albums by type of retailer 1999-20031999 2000 2001 2002 2003

Total £ 11.39 £10.98 £10.77 £10.60 £10.20Music Specialists £11.83 £11.46 £11.20 £10.99 £10.55Chains/Multiples £11.33 £11.30 £10.99 £11.16 £10.98Supermarkets £11.84 £10.54 £10.81 £10.67 £10.04Mail order & Club £11.02 £10.52 £9.55 £9.62 £9.36Internet £10.81 £10.38 £10.04 £9.89 £9.64Other outlets £8.28 £7.08 £7.86 £6.75 £7.27

Source: BPI 2004

4 OD2 had 380,000 registered users by the end of 2003 and 450,000 in 2004.5 2004 Report from Digital Tech Consulting (DTC)

6 BPI 2004


The average price of albums have clearly decreased in the last years, from £11.39 in 1999 for an album to£10.20 in 2003. Over 54% of albums sold were under £10 in 2003. Again the prices fell across virtually alltypes of retailers in the UK, which is the fourth consecutive fall in a five year period.More information: on specific retailers may be available from BARD, the trade association in the UK forthe retail sector (see more below under Trade Organisations)

4. Publishing

Within the music sector, the music publishing industry is one of the few that has lately experienced a realgrowth in revenues. The main sources of income for music publishers are broadcast and live performance(performing rights), sales of sound carriers (mechanical rights), synchronisation fees, Grand Right fees, hirefees and printed music sales.

The table and graph below show rights income earned by a consistent and representative group of UKmusic publishers, over 4 years, together with the UK/overseas splits and annual percentage changes.1

£000s 1999 2000 % change 2001 % change 2002 % changeTotal rights income 365,249 377,891 3.5% 390,582 3.4% 419,572 7.4%of which: UK 188,846 198,268 5.0% 211,591 6.7% 223,082 5.4%

Overseas 176,403 179,623 1.8% 178,991 -0.4% 196,490 9.8%

RIGHTS INCOME 1999-2002

0

50,000

100,000

150,000

200,000

250,000

UK & Overseas£000s

0

50,000

100,000

150,000

200,000

250,000

300,000

350,000

400,000

450,000

Total£000s

UK 188,846 198,268 211,591 223,082Overseas 176,403 179,623 178,991 196,490Total rights income 365,249 377,891 390,582 419,572

1999 2000 2001 2002

1 Music Publishers Association, Annual Survey of Rights Income 1999-2002

28

In 2002 the MPA survey group’s total rights income, before payments to composers/writers (but see below), was split as follows: mechanical rights 55%; performing rights 23% (note that in thecase of performing rights deductions for composers/writers are made by the collecting societyprior to any payments being made to publishers –the sum received by an individual publishermay be subject to a further publisher/composer split according to the terms of individualpublishing agreements); synchronisation fees 11%: Grand Rights 7%; hire fees 2%: and otherrights income 2%.

A separate MPA survey of printed music publishers has revealed that income deriving from thesale of printed music has also grown from £40.6millon in 1999 to £45million in 2002.

More information: the MPA also publishes a list of members with details on their activities andgenres in which they specialize.

5. Media

- Press

The British music press is huge, especially the youth market. In addition to specialist musictitles, UK generalists magazines and newspapers usually also cover the music sector, especiallynew album and single releases, and music celebrities.

The following table gives an overview of the main specialist music press:

Music Press 2002-2003 Average circulation per issue

0

50

100

150

200

250

300

QUnc

utMojo

NME

Kerra

ng!

Topof

the Pop

s

TVHits

It'sHot

Smash Hits

Ministr

y

MixMag

20022003

Source: BPI 2004

The magazines who sell the most are those for teenage and pop music. The Top of the Popsmagazine is the most successful a weekly publication and an average circulation of 230,493 per

29

issue in 2003. Others include It’s Hot, a monthly publication with 116,515 and Smash Hits with114,383.

The main titles are generally published monthly. First comes Q with a circulation in 2003 of161,634 per issue then come Uncut and Mojo with respectively 111,167 and 104,437.

Considering specialized magazines, five different categories exist. Each genre has itsmagazines. For example, the principal magazines for Dance music are MixMag with a 50,182sold monthly and then Ministry with 65,030 also monthly.

Urban and Specialist music have less choice of magazines and lower circulation. However,Blues and Soul is one of the references. The same scenario is applicable to World Music. Thetwo principals are Songlines and Frootsmag.

Music Week is the weekly professional press publication, providing the industry with access tonews, play lists and chart information, including airplay and specialist club charts. Music Weekalso produces comprehensive guides to the UK and international markets and has a verycomplete website where only subscribers have access.

There are also on-line services such as:

Five Eight which publishes a daily e-mail with Music Business Today service linking to musicbusiness stories from various sources, and a monthly music business magazine.

Record of the Day. A Daily newsletter with links to news articles in the UK press, covers artistand business news. Includes review of and sample of a music track that is literally the “record of the day”.

CMU which daily publishes a daily e-newsletter on with music and business news.

MusicAlly: Subscription only music business news service with bi-monthly reports, weeklyupdates news flash service.

- Radio

This sector can now be considered as very dynamic with a turnaround in the radio advertisingmarket, the development of digital radio and the enactment of the 2003 Communications Billproviding some relaxation on radio ownership rules.

With at least 260 stations, local commercial radio commands nearly 47% of the national weeklyshare of total listening, and only 4 groups –GWR/EMAP/Capital/Chrysalis –dominate thisfigure. Playlists are increasingly standardised. This situation makes it increasingly difficult tobreak new artists. This was identified as one of the reasons independents in the UK face growthproblems2. Ultimately, this means that record companies have to deliver a very compelling plotbefore radio - or TV –will consider playlisting. Pirate radio can be quite influential in launchingmusical trends and new acts. UK professionals are currently lobbying in favor of more Britishmusic and more diversity on commercial and public radio.

2 National Music Council, Counting the Notes.

30

The table below sets out a snapshot of radio listening for the third quarter in 2003:

Summary of Radio Listening –Quarter 3, 2004 –UK National StationsReach 000 Quarter 3,2004

Share % Q 3,2003

Share Q 3 %,2004

All BBC 32514 51,8 54,428643 40,9 43,5

10042 8,0 8,613060 15,0 16,1

All BBC NetworkRadio

- Radio 1- Radio 2- Radio 4 9422 11,3 11,3

BBC Local Regional 9928 10,9 10,9All Commercial 31038 46,2 43,7

12752 9,5 9,6

6145 4,5 4,22910 - 2,02182 1,5 1,7

All NationalCommercial

- Classic FM- Total Heart- Talksport- Virgin 2598 1,7 1,5

All Local Commercial 25719 37,3 34,1Other Listening - 2,0 1,9Source: RAJAR/IPSOS-RSL

This shows that the BBC has increased its market share in Quarter 3, 2004, for radio listeningwith 54.4%, whereas commercial radio has had 43.7% (a decrease compared to Q3, 2003).

Radio 1 has mutated into an edgier radio taking more risks because of its audience drop –8.6%of the national market share. A Radio 1 playlisting is still hugely influential when other stationsand media are still considering an act. But Radio 1’s support alone is no longer a guarantee for a hit single. It is under constant criticism (including from media on behalf of the taxpayers)because of its declining audience, widely blamed on a playlist policy not accessible orrepresentative enough of the tastes of the majority of the 15-24 demographic they aim torepresent.As Radio 1 continues to position itself with a younger audience, the disenfranchised olderlisteners are increasingly moving over to the slowly evolving Radio 2, which has cleverly alteredits playlist policy to include artists no longer deemed suitable for Radio 1, and are seen as more“album-selling” type acts, appealing to a 25 years plus audience.Radio 2 has gradually becoming the dominant force in the market place by breaking the mouldof the chart format and reaching more than 13 millions listeners weekly. At the end of 2003, itreached a 16.1% share of total weekly listening.

Radio in the UK now offers also much more choice since digital and internet broadcasting. Forexample, with 6Music and 1Xtra –the BBC drew audiences of around 400,000 while five otherdigital radio stations from the commercial sector also reported listenership figures for the firsttime with a total of two million listeners. Even without a digital receiver many people canaccess these new stations via TV, or the Internet, with increasing numbers now listening toradio via their PCs.

- TV

With around 30 music channels available in the UK, music on television is increasinglydeveloping and broadcasters are beginning to research their audience more thoroughly in orderto fine-tune their programming.

31

In 2003 many shows attracted million of viewers, such as Robbie Williams Live at Knebworth(3.5m); Eurovision Song Contest (8.0m); Brit Awards (7.3m); Pop Idol’s (11.0m), etc.

It is important to understand the profile of TV viewers. The table below compares music TVviewers to normal TV viewers according to different age groups.

Profile of TV viewers

3

8

17

21

28

23 23

17

20

16

10

14

0

5

10

15

20

25

30

Under16

16-24 25-34 35-44 45-54 55+

Music TVTotal TV

Source: BARB Multi-channel homes 2003

This indicates that younger generations are more attracted by music TV, with 23% of music TVviewers aged under 16 and 28% aged between 16 and 24.

The success of emissions such as Pop Idol in 2003 has also changed the music industry.Programming these shows on a Friday has been a major fact in determining the success of therecords associated with the series and the artists (because most records are purchased onSaturdays).

The development of digital music TV channels offered greater perspectives for music televisionin 2003, as over 50% of the entire UK population has now access to digital network. In this vein,BSKyB launched three new music stations which targeted different segments of the musicaudience. EMAP and MTV also introduced channels in the same period.

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- Media advertising

In 2003, advertising spends of record companies saw an increase of 11% in the UK. TVaccounted for 75.5% of advertising spend, press 12.1%, while radio, 9%, and outdoor, 5%.3 Onlya small percentage of albums released are advertised on TV due to the high cost. Radio is alsoexpensive when targeting a large audience and operates similarly to TV. TV, however, can havea greater advantage than radio because with cable and satellite channels, consumers can betargeted with more accuracy. For example, the compilation market has increased considerablyin the past few years, also due to TV advertisement. Outdoor campaigns are generally used forbig albums or to back up a TV or Radio ad.

Record company advertising expenditure 1999-2003 £ Thousands1999 2001 2002 2003 % Change

02/03TV £58,458 £81,318 £77,029 £91,944 +19%

Press £25,204 £17,348 £15,488 £14,779 -5%

Radio £14,388 £10,140 £8,661 £7,015 -19%

Outdoor £6,342 £5,542 £7,660 £7,536 -2%

Cinema £464 £332 £530 £265 -50%

DirectMail

- £353 £753 £306 -59%

Total £104,856 £115,033 £110,121 £121,845 +11%

Source: BPI 2004

As mentioned previously, the TV sector attracts the most advertising expenditure with a 19%growth in 2003 while all the other sectors witnessed a general drop during the same year. Thebiggest decrease in advertising expenditure was for cinema (-50%) and direct mail (- 59%).

Digital advertisement also constitutes a new effective and lower-cost way of advertisement,although the number of people reached might be smaller.

6. Live/touring/clubs

The UK has a strong live music culture for all musical tastes. There is also a large festivalscene. Live music constitutes a significant business in the UK and also an important step for thepromotion of a release in the UK. This is particularly the case in certain genres such as rock.Any touring/release strategy needs to be clearly coordinated with the label, distributor,agents, promoters etc.

3 BPI 2004

33

The UK has thousands of live music venues. These are usually supported by private enterprisesalthough organisations such as the Arts Councils also participate in some venues. Bookings inthe main venues are handled by around 30 major promoters.

As in other territories, touring is one of the best ways of creating and extending a fan base and“guaranteeing” a certain level of singles and albums sales. This is particularly the case in theUK due to the strong live culture. As in any country, touring is a costly exercise. If a release oran artist is licensed to a UK label, tour support may be provided for the artist. Touring can alsobecome successful (to the point of self-funding and profitable touring) with the financialrewards from the ticket sales and merchandising. In the UK, some labels now seek to negotiatea proportion of an artist’s revenues from touring and other revenues, in their artist recording contracts. This is traditionally the domain of the artist (e.g. the Robbie Williams deal).

The UK also has a strong club scene which again will be important to target, depending on thegenre. Club and rave culture in the UK exploded in the 80s. The 90s was marked by with thearrival of super clubs and superstars DJs. However, the UK was also one of the first countries tobear the brunt of the crisis facing the whole club scene due to over saturation and changingtastes. Dance music remains very popular and radio stations such as Kiss, GLR, Radio 1, Capital–broadcast dance music at peak hours. In terms of clubs themselves, however, the scene ismuch reduced and many superclubs have been forced to close. Over the past few years, therehas been a growth in DJ or designer bars which are essentially late-opening bars/cafes withDJs. These also offer opportunities for promoting artists and DJs.

7. Sales certifications and awards

Sales certificationsSales certifications are available in the UK to mark different levels of sales success. The figuresare based on net shipments and are organised by the BPI. For the UK awards, no matter theorigin of the repertoire, domestic or international, the following net shipments are required:

Albums: 60,000 for silver, 100,000 for gold and 300,000 for platinum. (There is no diamondcertification).Singles sales, 200,000 for silver, 400,000 for gold, and 600,000 for platinum.

CERTIFICATION AWARDSALBUMS Sales

Level2003 2002

- Silver 60,000 284 275- Gold 100,000 220 200- Platinum 300,000 78 73

- Multi-Platinum - 85 74SINGLES Sales

Level2003 2002

- Silver 200,000 15 47- Gold 400,000 6 17- Platinum 600,000 4 5

- Multi-Platinum - 0 3Source: IFPI 2004

In 2003, 284 albums went silver, which represents an increase compared to 2002 (275 albums).220 went gold (only 200 in 2002). Platinum experienced the same trend with an increase from73 in 2002 to 78 in 2003. Multi-platinum saw an increase from 74 in 2002 to 85 in 2003. For

34

singles, however, there was a general drop in certification awards with 15 silver (47 in 2002), 6gold (17 in 2002), 4 singles went platinum (5 in 2002) and 0 multi-platinum (3 in 2002).

Sales in the UK will also count, along with sales in other territories, to internationalcertifications. These include the pan-European sales awards administered by IMPALA (IMPALASilver, Gold, Platinum at 30,000, 250,000, and 500,000 respectively) and IFPI (IFPI Platinum at1,000,000).

AwardsThe UK has a strong awards culture. Nominations can offer quedos and are also a usefulmarketing tool, with nominees and award winners often experiencing increased sales. The mainawards include (in alphabetical order):

BRIT Awards: annual ceremony in London organized by the BPI www.brits.co.ukClassical Brits: annual ceremony for classical music: www.classicalbrits.co.ukKerrang! Awards: annual awards ceremony for rock and metal bands: www.kerrangawards.comMercury Music Prize: annual prize for albums selected by jury, carrying considerable quedosand media coverage: www.nationwidemercurys.comMIA Musical Instrument Awards: annual awards ceremony for instruments and associatedproducts in the industry: www.mia.org.uk.MOBO: annual awards show for music of black origin: www.mobo.netMusic Week Awards: annual awards for the music industry professionals:www.musicweekawards.comNational Student Music Awards: annual event to showcase new student bands to the musicindustry around the UK: www.nsma.comNME Carling Awards: annual rock awards: www.nme.comIvor Novello Awards: longest running annual award show (since 1955) to recognize songwritersand publishers (Ivors Dance Award was also launched in 1997): www.britishacademy.com/ivorsUrban Music Awards: new awards ceremony for British based urban and underground dancemusic: www.urbanmusicawards.net

8. Trade Fairs

A range of music business trade fairs is available in the UK music sector, including the followingnational and international events (alphabetical order):

The British Music Fair: UK trade fair for musical instruments and related products, attendedby suppliers and distributors: www.britishmusicfairs.comIn The City: annual forum (rather than traditional trade fair) for networking, examiningcurrent issues in the UK music’s business and discovering new talent through In The CityUnsigned: www.inthecity.co.ukMusicWorks: annual cross-media music convention, event, held in Scotland:www.musicworksuk.comInternational Live Music Conference: - annual event based in London to assemble key figuresin UK and international live music field: www.ilmc.com

9. Trade organisations and institutions

There are a large number of organisations, institutions and collecting societies active in thefield of music in the UK. The main industry associations and collecting societies are summarisedbelow in alphabetical order (full contact details of these and other associations and institutionsare set out in the Practical Guide) –the most interesting are listed again at Chapter 7 UsefulWebsites of the Practical Guide:

35

AIM, Association of Independent Music: trade association representing the UK independentrecord sector. Active in internet licensing for members. Produces an excellent guide to the UKmusic business. www.musicindie.orgAPRS, Association of Professional Recording Services: represents recording studios, post-production houses, mastering, replication, pressing and duplicating facilities. www.aprs.co.ukArts Councils: development agencies for the arts administering significant funds.www.artscouncil.org.ukAssociation of British Jazz Musicians: database on the UK jazz scene.www.jazzservices.org.ukAssociation of Festival Organisers: trade association representing festival organisers.www.aoifeonline.comBARD, British Association of Record Dealers: trade association representing retailers andwholesalers in music, video, DVD etc. Joint owners of Official UK Charts Company (see below).www.bardltd.orgBMR, British Music Rights: repesents the UK’s composers, songwriters and music publishers and organizations to the UK government, media and public. www.bmr.orgBPI, British Phonographic Industry: trade association representing recording companies,including the majors. UK member of IFPI. Joint owners of the Official UK Charts Company (seebelow). Runs the annual BRIT Awards and also the Brit Trust (see below). Anti-piracy unit.www.bpi.co.ukBrit Trust: charitable arm of the BPI which also runs the Brit School, a music and creative artsschool for young people in South London. www.brittrust.co.ukBritish Academy of Composers & Songwriters: association representing and advisingcomposers and songwriters. www.britishacademy.comBritish Independent Record Dealer Directory: directory of independent record shops andrecord fairs. www.birdpages.co.ukBVA, British Video Association: trade association representing video home entertainmentcompanies. www.bva.org.ukCatCo: part of PPL (see below). Provides an electronic means of registering new release data.www.catcouk.comCPA, Concert Promoters Association: trade association representing concert promoters.CRCA, Commercial Radio Companies Association: trade body for commercial radio companiesin the UK. Database with detailed information on commercial radio stations. www.crca.co.ukDCMS, Department of Culture Media and Sport: government ministry in charge of culturalaffairs. The official sponsor of the UK music industry. www.culture.gov.uk/about_dcms/defaultDTI, Department of Trade and the Industry: government ministry dealing with trade andindustry, also responsible for the Patent Office which looks after intellectual property andcopyright. www.dti.gov.ukE-centre UK: supplies bar codes and promotes the effective use of EAN.UCC standards in UKsupply chains. www.e-centre.org.ukEquity, British Actors Equity: union representing actors, actresses, and also vocalists,negotiating agreements with music and broadcast sectors for vocalists. www.equity.org.ukFACT, Federation Against Copyright Theft: combats counterfeiting, piracy and undertakesprivate prosecutions on behalf of its members. www.fact-uk.org.ukFMO, French Music Office: office in the UK promoting French music. Published a guide to theUK market which, although designed for French companies, is in fact useful for any musiccompany or artist. www.french-music.orgIFPI, International Federation of Phonographic Industries: international trade association forrecord companies including the majors. Secretariats in London and Brussels. BPI is UK member.www.ifpi.orgIMMF, International Music Managers Forum: represents national federations of musicmanagers. www.immf.netIMPALA, The Independent Music Companies Association: international trade association forindependent music companies. Secretariat in Brussels. AIM is UK member. www.impalasite.org

36

ISM, Incorporated Society of Musicians: association for professional musicians, providingadvice and services to members. www.ism.orgMCPS, Mechanical Copyright Society: collecting society licensing mechanical rights ofcomposers and publishers to record companies and other licensees who record MCPS members’ copyright musical works. Runs an anti-piracy unit. www.mcps-prs-alliance.co.ukMIA, Music Industries Association: trade association representing UK businesses selling musicalinstruments and associated products. www.mia.org.ukMMF, Music Manager Forum: trade association representing managers in the UK.MPA Music Publishers Association: trade association for UK publishers. www.mpaonline.org.ukMPG, Music Producers Guild: represents individuals in the music production and recordingprofessions. www.mpg.org.ukMusicians Union: Union for musicians in the UK, negotiating standard fee and use agreementswith music and broadcast sectors. www.musiciansunion.org.ukNEMIS, New Music in Scotland: music network for Scottish artists, labels, music businesses,media, recording studios, venues, radio, creatives and professional services. www.nemis.co.ukNMC, National Music Council: consists of different music industry associations. Producedreport on UK music business “Counting the Notes” in 2002. www.musiccouncil.orgNordoff-Robbins Music Therapy: music charity offering music therapy clinic and training,research and library facilities. www.silverclef.comPAMRA, Performing Artists Media Rights Association and AURA, Association of UnitedRecording Artists: distribute royalties due to artists and performers from performance ofrecordings (e.g. radio and TV). www.pamra.org.ukPPL, Phonographic Performance Limited: collecting society licensing the public performanceand broadcasting rights of the copyrights owned by record companies members. Collects andadministers performers’ share of revenues in conjunction with the Performers Forum, made up representatives of different performer bodies. Operates the Performers Registration Centre(“PRC”). www.ppluk.comPrince’s Trust: provides training, mentoring and financial assistance to help 14-30 year olds.(not limited to music). www.princes-trust.org.ukPRS, Performing Right Society: collecting society licensing the public performance andbroadcasting rights of the composers, authors and publishers of musical works. www.prs.co.ukRadio Academy: professional body for people working in the radio industry.www.radioacademy.orgThe Agents’ Association: represents agencies handling performing artistes and bookings inmusic, television, film, radio, theatre, musicals, etc. www.agents-uk.comThe Official UK Chart Company: responsible for commissioning, marketing, distributing andmanaging the UK’s official music, video and on-line charts (formerly known as CIN). Providesinformation on the rules determining eligibility for the charts. www.theofficialcharts.comVPL, Video Performance Limited: collecting society licensing public performance andbroadcast rights in music video for record companies. Negotiates and administers theindependents’ deal with MTV for Europe. www.vlpuk.comWelsh Music Foundation: provides business support to music-based SME’s in Wales for the development of a commercially viable Welsh music industry. www.welshmusicfoundation.com

37

III) MUSIC GENRES

This section gives more information on the UK music industry for the main genres. This chaptershould be viewed as a pointer to “who does what” in the the different main genres1 rather thanan extensive or exhaustive account. For a breakdown of the popularity of the different musicgenres in the UK, please see the table in the music genre part of music market in Chapter 3above.

POP

1) Situation of the music genre

Pop returned to take the majority share (31,2%) in 2003. The top five best-selling albums of theyear-including titles by Dido, Daniel Bedingfield and Justin Timberlake-were all classified bythe BPI and OCC as Pop. Pop also took the majority share of sales in the singles sector. As in2002, Pop accounted for seven of the year’s top 10 best selling albums. The number one –Dido’s Life for rent- sold over two million copies and the subsequent four best selling Pop titlessold over a million copies each. New releases from artists such as Robbie Williams andSugababes also helped improve the genre’s share of sales. 2003 was the year when Urban music made its presence felt in the singles market.

2) Majors

Arista Records Jive Records Mercury Records London Parlophone Polydor UK Sony music entertainment (UK)

3) Independent labels

1 As selected by the European Music Platform for all the territories, excluding Classical.

38

2M Recordings Ltd 3rd Kind Music Production 4 Liberty Records Ltd 4 Real Records (Syndale

Ltd T/as) A J G Management Ltd Absolute Marketing &

Distribution Ltd Acrobat Music and Media

Ltd Adasam Ltd Afion Records Ltd Amazing Grace Records Andmoresound Ltd Angel Air Records Animal Noise Apex Entertainment

Holding ARC Arcana Records Architecture Artful Records Ltd Artist Network ARTISTdirect RECORDS Assassination Music AVID Entertainment Beat Goes On Bella Union Big Help Music Ltd Blow Up Records Blue Ice Records Blueprint Recordings BMP Broken Music

Publishing Ltd Boogiemedia Records Ltd Boom Chang Records Boss music Brother’s Records Ltd BRPM Records Bucks Music Group Ltd Caroline 2 Ltd Cent Records Chameleonics Ltd Champion Records Ltd Charly Aquisitions Limited Charly Records Chemikal Underground

Ltd. Chips Records Chocolate Boy Recordings

Ltd Circular Records Circus

Classic PicturesEntertainment

Club Montepulciano Colossus Records Common Products Concept Music Concrete Recordings Ltd Cooking vinyl Cork Dog Records Ltd Corruptive Records Crambo Records Ltd Crash Records / Starline

Promotions Creeping Bent Recordings

Ltd Cube Records Ltd Curb Records Ltd Dance Paradise Deadeye Records Deep Jeep Delta music plc Demon Music Group Department of Sound Destabilize Ltd Dojo Studios Dome Records Ltd Double Dragon Music Dramatico Entertainment

Ltd Dreamy Eagle records Eat Sleep Records Ltd Echo Label Ltd Edel “UK” Records Ltd Electric Records Ltd Emerald Music(Ireland) Ltd Ena Music EPARK UK Evensong Recordings Ltd Face The Music Global Ltd Fairplay Records Faith and Hope Records

Ltd Fat Fox Records Fat Northerner Records FDM Records Feargal Sharkey FF Vinyl Ltd Fidela Firebird International Floating World Four Music Productions Freedom

39

Fresh Entertainment Fresh Records Furious Futureproof Records Gentle Electric Global Talent Records Gorgeous Music Ltd Gotham Records Gronland Gut international Habana Productions Ltd Hail (Music From the

Highlands & Islands ofScotland)

Half Full Music Limited Harkit Entertainment Ltd Henry Hadaway

Organisation Ltd Hot Records Inferno Records Innerspace Productions Instant Karma International Music Group

Plc Invisible Hands Music Ltd Irish Intellectual Property

Services Ltd Irish Intellectual Property

Services Ltd Isobar Records Ltd Jalapeno Ltd Jeepster Recordings Ltd Jester Records Key Recordings Ltd Keystone Records K-Tel Entertainment (UK)

Limited L K Records Ltd T/A Lizard

King Records Lancaster Records Ltd Leaky Jo Records Lemon Groove Records Lifewater Station Z Lost Moment Records Ltd LoveDemonMusic Ltd. Loving Monkey M16 Music Company M19 Recordings (MS & M

International ltd) Marathon Music

International Market Square Music Ltd

Media Records Ltd (alsoknown as Nukleuz)

Megabop Records MFM Music (Cracklin’

Records) Middlesbrough Music

Collective Studio Ltd Mighty Atom Records Ministry of Sound Mo’s Music Ltd Moksha Recordings Ltd Molotov Records Mondo Records Ltd More Protein Morpheus Records Multiverse Ltd Mumbo Jumbo Music & Memories –

Haysbridge UK Ltd Music Factory

Entertainment GroupLimited

Music Mountain Music Ltd My Audiotonic Ltd Near Shore Records Neita Original Records Neon Nesta Records Nettwerk Productions UK Network International New Dawn Music Newsound 2000 Ltd North Star Music

Publishing Ltd. Northern Sky Music Novamute Off the Wharf Productions

Limited Offspring Records One Little Indian Ltd Original Mind Songs Palm Pictures Past Perfect Ltd Paul Casey Persevere Records Pet Lamb Records Ltd Pias recordings & genuine Pickwick Group Limited Pop Recordings Ltd Poptones Ltd President Records Prestige Elite Records

Limited

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Privileged ManProductions

Proper Music DistributionLtd

Pure Silk Ltd Pyrococcal Records Quixotic Records Q-Zone Ltd R and M Records Randan Random Records Reader’s Digest Assoc. Ltd Recognition Distribution

Ltd Red Flag Recording

Company REL Records Ltd Relyte Records /

Beaumont St Studios RF Records Right Recordings Ltd Righteous Babe Records Riot Club Roadrunner Records Rough Trade Records RSK Entertainment Ltd Sain (Recordiau) CYF Sectioned Media Ltd

(formerly Enced Media) Seeca Music Ltd Seriously Groovy Music Ltd Serotonic Records Sexy Music Ltd Shake Records/Peet Music

Ltd Shoeshine Records Silk Studios (Media

Release Ltd T/As) Silveroak Music

Entertainment Ltd Simply Vinyl Ltd Skinny Dog Records Ltd Skylark Records Slowfoot Records Smekkleysa/Badtaste SM

Ltd Soul 2 Soul Recordings

(Premier Class Ltd t/as)

Squeaky Records Ltd Start Entertainment

Limited Sunday Best Recordings

Ltd Supertone Records Survival records ltd Tall Poppy Records The Rajon Music Group UK

Limited The Sound Foundation Think Tank Records Time Music International

Ltd TKO Music Group Total Quality UK Townhill Records Townsend Music Ltd T/A

Townsend Records Triple A Records Ltd Turbulence Records Ltd Turpin Music Ltd (Inc

Inertia Records) TWM Music Production Two To Tango Records Ltd Twopointnine Ltd / 2 point

9 Records Union Square Music Upbeat Recordings Ltd Urbanite.co.uk Vinyl Japan (UK) Ltd. Virtual Music Enterprises

Ltd Vision Records Voiceprint Group

Wienerworld Limited Volume Records Ltd Walking Oliver Records XL recordings Xlantic Music Group Yoshiko Records Yup Records Zenith Cafe Zestzone ZTT Records Ltd ZYX Music

41

4) Publishers

4AD Music Ltd A7 Music Afric’Arts Music

Connections Label UK Anglia Music Company Anglo Plugging Music Angus Publications Artemis Music Ltd Asterisk Music Audio Network Plc BaBa Productions Barbera Music Ltd Barry Collings

Entertainment Basement Music Ltd Bella Casa Music Ltd Belsize Music Ltd Big World Publishing BMG Music Publishing Ltd Bocu Music Ltd Broughton Park Music Bucks Music Ltd Bug Music Ltd Bullseye Music Ltd Carlin Music Corporation Catalyst Music Publishing

Ltd Champion Management

and Music Ltd Christabel Music Ltd Chrysalis Music Ltd CLM Columbia Publishing Wales

Ltd Constant in Opal Music Ltd Cornerways Music Cyhoeddiadau Sain Dejamus Ltd Digger Music Dinsdale Music Eaton Music Ltd EMI Music Publishing Ltd Essex Music Group Faber Music Ltd Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing

Ltd Hilltop Publishing Ltd

Home City RecordsPublishing

Hornall Brothers Music Ltd Hyde Park Music Ltd Independent Music Group J Albert and Son Ltd Joustwise Ltd Kassner Associated

Publishers Ltd Kobalt Music Publishing

Ltd Late Callows Music Lojo Music Ltd Lorna Kirtland Music Ltd Maxwood Music Ltd Mcasso Music Production

Ltd MCS Music Ltd Mediatracks Music Library Memory Lane Music Ltd Menace Music Ltd Merseysound Ltd Minaret Music Ltd Moggie Music Ltd Moncur Street Music Ltd MoonRock Music MPL Communications Ltd Multiplay Music Ltd Music by Design Ltd Music Sales Ltd The Music Trading

Company The Music Trunk

Publishing Co Ltd Musicalities Mute Song Ltd NorthStar Music Publishing

Ltd Obelisk Music Odyssey Music Ltd Orange Songs Ltd Orestes Music Publishing

Ltd Paragon Preston Stevens

Music Co Ltd Parrot Productions Ltd Paternoster Music Ltd Paul Balance Music Ltd Paul Rodriguez Music Ltd Peermusic Ltd

42

Pink Floyd MusicPublishers Ltd

Playwrite Music Ltd Primo Music Ltd Primrose Music Publishing

Ltd Proper Music Publishing

Ltd PXM Publishing RAK Publishing Ltd The Really Useful Group

Ltd Reverb Music Ltd Rita Ltd Rive Droite Music Ltd Rock Music Company Ltd Rockstone Music Ltd RSM Music Publishing Sanctuary Music Publishing SATV Publishing Ltd Silva Screen Music Ltd Songstream Music Ltd

Sony/ATV Music PublishingUK Ltd

St Annes Music Ltd Stage Three Music Ltd Star Street Music Ltd Stop Drop & Roll Music Ltd Sweet ‘n’ Sour Songs Ltd Tairona Songs Ltd TKO Publishing Ltd Unforgettable Songs Ltd Universal Music Publishing

International V2 Music Publishing Ltd Valentine Music Group Valley Music Ltd Vitamin V Ltd Voiceprint Publishing Warner/Chappell Music Ltd West One Music Ltd Westbury Music Ltd Windswept Music Ltd Woza Music

5) Distributors

Arabesque Distribution BMG Discovery Records Ltd EMI North West Music Nova Sales and Distribution UK Ltd Pinnacle Entertainment Pinnacle Imports Sony Music Entertainment (UK) Universal Thames Distributors Ltd

6) Retailers

Action Records Asda Britania Disque Fopp HMV Music Zone MVC Popscene

Sainsbury Safeway Sanity Sho’nuff---Beatz Workin’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

43

7) Clubs

Paradise Bar 12 Bar Infinity Club

8) Festivals

Duckfest Reading Festival The Big Chill

9) Managers

19 Management AJG Management Ltd Albert Samuel

Management Bandana Management Ltd Basement Music Ltd Big Cat UK Records Ltd Cara Music Ltd Compass Global Music Creation Management Ltd Deluxe Management Divine Management

Gailforce Management Doug Smith Associates First Move Management

Ltd Hall or Nothing

Management J Management Jon Sexton Management

(JSM) Middle 8 Management

Montana ArtistManagement

Musiclore Limited Outburst Productions Outside Management Patrick Jacobs

International Management Red Boots Management RPL Management Safe Management Silentway Management

Ltd. (Manchester) Shalit Global Management

and Entertainment Sharpe Management Sounds Like a Hit Limited Stutunes Subversive Music

Management Ltd TFORCE Triibal Markings

Entertainment Watercolour Music

10) Bookers/Promoters

13 Artists Cantaloupe Group Clear Channel

Entertainment UK Music Impro Agency

Leyline Promotions Marshall Arts Ltd The Hub Riverman Management XL Talent Partnership

44

11) Specialized media (press, radio, TV)

2CR FM 2-TEN FM 95.8 Capital FM 96.3 Radio Aire 96.4 FM BRMB Argyll FM BBC I BBC Radio 2 BBC World Service Music Beat 106 Bullit Magazine Dotmusic .com

Five Eight Les Inrockuptibles Ministry Of Sound Radio Mixmag NME MTV UK & Ireland Music Week Q Magazine Radio Borders Resonance FM Smash Hits Virgin Radio

45

Rock

1)Situation of the music genre

Rock fell from being the leading genre within the UK album market in 2002 to be second behindpop. Rock took 29,2% of all album sales in 2003, down 1,8% on 2002. Although there werebreaktrough successes from artists such as The Darkness and Evanescence alongside strongsales of established artists like Coldplay and Red Hot Chili Peppers accounted for 22 of the 40best-selling albums last year. Contemporary Rock albums fared slightly less well year on yearalthough there were big selling debut stes from the Thrills and Kings of Leon among others.AOR also lost share on 2002 despite the Beatles’ Let It Be reissue and new releases from SherylCrow and Bon Jovi. In the single market, Rock also improved its share, with the top threeChristmas week singles (from Michael Andrews ft Gary Jules, Kelly and Ozzy Osbourne and theDarkness) all classified as such. Red Hot Chili Peppers titles appeared in the top 10,000 albumsof the year and their cumulative sales ensured they were the biggest Rock act of 2003.

2) Majors

The Echo Label Innocent / Virgin Records Jive Records Mercury Records London


1 Records Worldwide Ltd 2M Recordings Ltd 3rd Kind Music Production A J G Management Ltd Absolute Marketing &


Ltd Adasam Ltd Afion Records Ltd Airwave Records Ltd Alchemy Entertainment

Ltd Almafame Amazing Grace Records Andmoresound Ltd Angel Air Records Animal Noise Anticulture Records Ltd Apex Entertainment

Holding

ARC Arcana Records Architecture Artful Records Ltd Artist Direct Records Artist Network Assassination Music AVID Entertainment Beat Goes On Beggars Banquet Records Bella Union Big Help Music Ltd Blow Up Records Blue Cat Records Blue Ice Records Boss music Boss Tuneage (Mr A

Stephens t/as) BRPM Records Buzz Records

46

Cacophonous Records Camino Records Candy Productions Ltd Captain OI! Records Cargo Records UK Ltd Caroline 2 Ltd Chameleonics Ltd Charly Aquisitions Limited Chemikal Underground

Ltd. Chips Records Circular Records Circus Classic Pictures

Entertainment Cold Town Music ltd Colossus Records Common Products Concept Music Concrete Recordings Ltd Cooking vinyl Copasetik Recordings UK

Ltd Cork Dog Records Ltd Corruptive Records Crambo Records Ltd Crash Records / Starline

Promotions Creeping Bent Recordings

Ltd Creole Records Ltd Crimson Productions db Records Deadeye Records Deep Jeep Delta Music Plc Demon Music Group Department of Sound Destabilize Ltd Dicelines Records Digital Hardcore

Recordings Discipline Global Mobile Dome Records Ltd Dorado Records Double Dragon Music Double Snazzy Dreamy Dreamy Records Dry Run Recordings ltd E.G. Records Eagle records

Eagle Rock EntertainmentPlc

Earache Records Eat Sleep Records Ltd Echo Label Ltd Edel “UK” Records Ltd Electric Records Ltd Emerald Music(Ireland) Ltd Epitaph Europe Evensong Recordings Ltd Faith and Hope Records

Ltd Fat Boy Music ltd Fat Cat Records Fat Fox Records Fat Northerner Records Feargal Sharkey FF Vinyl Ltd Fidela Floating World Flying Mountain

Productions Force Majeure Freedom Furious GD Worldwide Ltd Gentle Electric Global Talent Records Global Warming Records Gorgeous Music Ltd Gotham Records Gronland Gun Pure Records Habana Productions Ltd Hail (Music From the


Half Full Music Limited Harmsonic Henry Hadaway

Organisation Ltd Hi-Note Ltd Hiptonic Records Homegrown Productions Hot Records/Beyond The

Sea Ltd Hug Records Ignition Records Ltd Independiente Ltd Infinity Records Innerspace Productions Intact / Marillion

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International Music GroupPlc

Invisible Hands Music Ltd Irish Intellectual Property

Services Ltd Jam Inc Ltd Jeepster Recordings Ltd Jungle Records Karma Music Group Ltd Key Recordings Ltd Keystone Records KFM Records Kitchenware Records Ltd. Krypton Records L K Records Ltd T/A Lizard

King Records Lakota Lancaster Records Ltd Lipstick Head Records Lonely Hunter Records Lost Moment Records Ltd Loving Monkey M16 Music Company M21 Manic Records Ltd Marillion Market Square Music Ltd Matrix Music Marketing Megabop Records Mercury Records London MFM Music (Cracklin’

Records) Mi5 Recordings Middlesbrough Music

Collective Studio Ltd Mighty Atom Records Mo’s Music Ltd Mohican Records Ltd Moksha Recordings Ltd Molotov Records More Protein Morpheus Records Mudhut Records Ltd Music Mountain Music Ltd Music of Life My Audiotonic Ltd Narcosis Recordings Near Shore Records Neita Original Records Nervous Records Nesta Records Nettwerk Productions UK Network International

New Dawn Music Newsound 2000 Ltd Northern Ambition Northern Sky Music Novamute Occasion Recordings &

Publications Ltd Off the Wharf Productions

Limited Offspring Records One Little Indian Ltd Orgy Records Ltd Original Mind Songs P3 Music Ltd Palm Pictures Parlophone Path Records Paul Casey Pavilion Records Ltd Persevere Records Pet Lamb Records Ltd PIAS Recordings UK Ltd Pickwick Group Limited Plastic Head Records Pleasuredome Polydor uk Pop Recordings Ltd Poptones Ltd Predator Music Ltd President Records Probe Plus Proper Music Distribution

Ltd Pure Mint Recordings Ltd Pyrococcal Records Quixotic Records R and M Records Reader’s Digest Assoc. Ltd Recognition Distribution

Ltd Recovery Records Red Flag Recording

Company Redstar Entertainment

LLC Relyte Records /

Beaumont St Studios Republic 37

Records/Saturn ReturnRecords

RF Records Right Recordings Ltd Riot Club

48

Riverman Records Limited Riverside Records Ltd Roadrunner Records Rough Trade Records RSK Entertainment Ltd Rykodisc Ltd Sain (Recordiau) CYF Salt Records Ltd Sandman Records Sectioned Media Ltd

(formerly Enced Media) Seeca Music Ltd Seriously Groovy Serotonic Records Shade Factor Productions Shake Records/Peet Music

Ltd Shoeshine Records Silveroak Music

Entertainment Ltd Simply Vinyl Ltd Skinny Dog Records Ltd Skylark Records SL Records Slowfoot Records Smekkleysa/Badtaste SM

Ltd Snapper Music Sonic Nation Spank Records Spittoons Squeaky Records Ltd Starshaped Records Start Entertainments Ltd Stretchy Records Limited Sugar Daddy Records

Limited Sugartown Records

Sunday Best RecordingsLtd

Supertone Records Tall Poppy Records Taste Media Ltd The Rajon Music Group UK

Limited Think Tank Records Tommy Boy Music Limited Total Quality UK Townhill Records Townsend Music Ltd T/A

Townsend Records Transcopic Triple A Records Ltd Turpin Music Ltd (Inc

Inertia Records) Union Square Music Vinyl Japan (UK) Ltd Virgin Records Visible Noise Vision Records Voiceprint Group of

companies Wagram Music UK ltd Walking Oliver Records Warp Records Wasp Factory Weird Eye Records West Nile Records Wienerworld Limited XL Recordings Yoshiko Records Z Records Zenith Cafe ZTT Records Ltd

4) Publishers

A7 Music Anglo Plugging Music Asterisk Music Audio Network Plc BaBa Productions Barbera Music Ltd Basement Music Ltd Big World Publishing Ltd BMG Music Publishing Ltd Bocu Music Ltd

Bucks Music Ltd Bug Music Ltd Bullseye Music Carlin Music Corporation Catalyst Music Publishing

Ltd Christabel Music Ltd Chrysalis Music Ltd Columbia Publishing Wales

Ltd

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Constant in Opal Music Ltd Dejamus Ltd Digger Music Dinsdale Music Ltd E G Music Ltd Eaton Music Ltd EMI Music Publishing Ltd Essex Music Group Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing

Ltd Hilltop Publishing Ltd Home City Records

Publishing Hornall Brothers Music Ltd Hyde Park Music Ltd Independent Music Group J Albert and Son Ltd Kassner Associated


Ltd Late Callows Music Lojo Music Ltd Lorna Kirtland Music Ltd Maxwood Music Ltd MCS Music Ltd Menace Music Ltd Merseysound Ltd Moggie Music Ltd Moncur Street Music Ltd MoonRock Music Multiplay Music Ltd Music Sales Ltd

The Music TradingCompany

Mute Song Ltd Orange Songs Ltd Orestes Music Publishing

Ltd Paul Balance Music Ltd Peermusic Ltd Pink Floyd Music

Publishers Ltd Playwrite Music Ltd Primrose Music Publishing


Ltd Reverb Music Ltd Rive Droite Music Ltd Rock Music Company Ltd RSM Music Publishing Sanctuary Music Publishing Songstream Music Sony/ATV Music Publishing

UK Ltd Stage Three Music Ltd Star Street Music Ltd Unforgettable Songs Ltd Universal Music Publishing

International Ltd V2 Music Publishing Ltd Vitamin V Ltd Voiceprint Publishing Warner/Chappell Music Ltd West One Music Ltd Windswept Music Ltd

5) Distributors

Arabesque Distribution Backs Records Ltd BMG Discovery Records Ltd EMI Nova Sales and

Distribution UK Ltd Pinnacle Entertainment Pinnacle Imports Prime Distribution

Revolver Music Ltd Silva Screen Records Sony Music Entertainment

(UK) Southern Record

Distribution (SRD) Tko Music Group Universal

50

6) Retailers

Asda Disque Fopp HMV Music Zone MVC Rock Box Sainsbury

Safeway Sanity Sho’nuff---Beatz Workin’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs

42nd Street Nightclub Bar Academy Bartok Barfly Glasgow Barfly Cardiff Barfly Camden The Cavern Club The Cavern Club

Glee Club Kartouche 100 Club 12 Bar Gossips Infinity Club The Borderline

8) Festivals

Creamfields festival

Duckfest Glastonbury Festival Guildford Festival Greenbelt Festival Reading festival

9) Managers

AJG Management Ltd Basement Music Ltd Big Cat UK Records Ltd Big Life Management Cara Music Ltd Compass Global Music Creation Management Ltd Deluxe Management Divine Management DJT Management Empire Artist Management

Express Entertainment Ltd Furtive Mass Transit

Systems LLP GR Management 974 Hall or Nothing

Management Ignition Management J Management Jam X Management JPR Management Jukes Productions Ltd

51

Kitchenware management Marsupial Management Ltd Middle 8 Management Montana Artist

Management Outburst Productions Patrick Jacobs

International Management Red Boots Management RPL Management

Shalit Global Managementand Entertainment

Sharpe Management Supervision Management Subversive Music

Management Ltd Triibal Markings

Entertainment Trinifold Management Watercolour Music Wildlife Entertainment


Clear Channel Entertainment UK Music Impro Agency Marshall Arts Ltd The Hub


The Arrow BBC I BBC Radio 2 BBC Radio 3 - Mixing It BBC World Service Music Bullit Magazine Fen Radio 107.5 Five Eight Kerrang ! Les Inrockuptibles Ministry Of Sound Radio Nme Mtv UK & Ireland MTV 2 Music Week Ozone Radio Planet Rock Q Magazine Resonance FM The Fly The Hub The Storm Time Out Virgin Radio What's On In London XFM

UK Export Handbook - 2004 52

Electronic-Dance


In 2003, Dance music was outstripped by R&B, dropping 2 points in the market shares comparedto 2002. Close to representing 10% of the market share in, 2002, it is now a little more than 7%.The two major artists in 2003 sharing equal parts of the market were Morcheeba and MassiveAttack. Dance slipped slightly in the singles ranking despite several number ones in 2003 andwas also unable to make an improvement in albums.

2) Majors

679 Recordings Blue Note (Parlophone / EMI) Credence Mercury Records London Polydor UK Positiva Records Universal Music Dance Virgin Records


1 Records Worldwide Ltd 2M Recordings Ltd 3rd Kind Music Production 4 Da World Entertainment 4 Liberty Records Ltd 4 Real Records (Syndale

Ltd T/as) A J G Management Ltd A&G Productions Ability Records Ltd Absolute Marketing &

Distribution Ltd Accidental Records AD Music Adasam Ltd Afion Records Ltd Akara Solutions Ltd/Akara

Music All Around the World Alola Alphamagic Ltd

Amato Amazing Grace Records AMG Records Animal Noise Apartment 22 Appetite Productions Arcana Records Architecture Assassination Music Audiobulb Records AVEX INC A-Wave.com Ltd T/A A-

Wave Records Bandwagon Bella Union Benbecula Big Fish Records Ltd Big Help Music Ltd Blueprint Recordings BMP Broken Music

Publishing Ltd Boogiemedia Records Ltd Bowmans Capsule


Breastfed Music Bronze Records Brother’s Records Ltd Bucks Music Group Ltd Bugged Out! Recordings Buzzin’ Fly Records Ltd Cacophonous Records Cargo Records UK Ltd Caroline 2 Ltd Chameleonics Ltd Champion Records Ltd Chemikal Underground Ltd Chips Records Chocolate Boy Recordings

Ltd Chocolate Fireguard Music

Ltd Circus Classic Pictures

Entertainment Cleveland City Records Climax Recordings Club Montepulciano Club Parasite Ltd Collective Music Concept Music Concrete Recordings Ltd Conspiracy Cooking Vinyl Copasetik Recordings UK

Ltd Cork Dog Records Ltd Corruptive Records Creeping Bent Recordings

Ltd Cube Records Ltd Curlique Records Ltd Cyberphonic Records Ltd Dance Paradise Darkjazz Defected Records Ltd Delirious Records Delta Music Plc Demon Music Group Deviant Sound Production

Ltd Diaspora Communications Discovery Records Ltd Dojo Studios Dome Records Ltd Dorado Records Dr of Dance Dry Run Recordings ltd

DTension Limited Duffnote Ltd Eagle Rock Entertainment

Plc Eastside Records Echo Label Ltd Edel “UK” Records Ltd Emerald Music(Ireland) Ltd Emotion Records Ltd End Recordings EPARK UK Ether Music Ltd Eve Records Exceptional Rec. Fabric Face The Music Global Ltd Fairplay Records Faith and Hope Records

Ltd Fat Cat Records Fat Fox Records Fat Northerner Records Fellowship Productions

Ltd (t/a Defunked) Fidela Fire Recordings Firebird International Flying Mountain

Productions Force Majeure Four Music Productions Fresh Entertainment Fresh Records Full Cycle Records Fusetrax Gentle Electric Glasgow Underground Ltd Good Looking Records Ltd Gorgeous Music Ltd Gotham Records Grand Central Records Greentrax Recordings Ltd Gronland GrooveX Habana Productions Ltd Hail (Music From the


Half Full Music Limited Hard Hands Recording

Artistes Limited Henry Hadaway

Organisation Ltd


Higher State Hiptonic Records Hitherto Records Hole In The Middle

Records Hombre Recordings Honey Beat Recordings Ltd Hope Recordings Hospital Records (formerly

Tongue & Groove) Hot Records Hydrogen Dukebox Ibiza Republic Records T/A

New Breed Talent Ltd Ico Ico Creative Ltd Illustrious Records In House Productions Incentive Music Ltd Independiente Ltd Inferno Records Infinity Records Inspirit Music Ltd Invisible Hands Music Ltd Involved Productions aka

Anjuna Beats Irish Intellectual Property

Services Ltd Isobar Records Ltd Jalapeno Ltd Jazz FM Records Jazz FM/Hed Kandi Jumblefunk Records Jungle Records Karma Music Group Ltd Kartel Ltd KFM Records Kickin Music Ltd Krypton Records Lancaster Records Ltd Leaf Label Leaky Jo Records Lemon Groove Records Lifewater Station Z Loaded Records Lonely Hunter Records LoveDemonMusic Ltd. Lunastate (UK) Ltd T/AS

Above The Sky Records M16 Music Company M21 Mantis Music Ltd T/A

Mantis Recordings Maple Record Ltd

Marathon MusicInternational

Marine Parade Ltd. Matrix Music Marketing Matsuri Productions McGregor Acoustics Media Records Ltd (also

known as Nukleuz) Megabop Records Melodic Ltd Mesmobeat Mettle Music Ministry Of Sound Mo’s Music Ltd ohican Records Ltd Moksha Recordings Ltd Molotov Records Mondo Records Ltd More Protein Most Records Movementinsound MoWax Mr Bongo / Disorient Mudhut Records Ltd Multiverse Ltd Mumbo Jumbo Music Engine, The Music Factory


Music Mountain Music Ltd Music of Life Mute Records Ltd My Audiotonic Ltd Nachural Records Name Music Narcosis Recordings Needlework Records Neita Original Records Nettwerk Productions UK

Ltd Network International New Dawn Music New State Entertainment

Ltd Newsound 2000 Ltd Ninja Tune North Star Music

Publishing Ltd. Novamute Off the Wharf Productions

Limited Offspring Records


One Little Indian Ltd One Step Music Ltd Opus Asia Records Orgy Records Ltd Outer Recordings Pacha Recordings Ltd Pagan Palm Pictures Paper Recordings & Repap

Recs. Passion Music Ltd Past Perfect Ltd Peacefrog Records Phase Records Ltd Pias Recordings & Genuine PIAS Recordings UK Ltd Pickwick Group Limited Plastic Raygun Ltd Player Records Pleasuredome Poptones Ltd President Records Pressure Sounds Prestige Elite Records

Limited Primitive Productions Privileged Man

Productions Pure Mint Recordings Ltd Pure Silk Ltd Pyrococcal Records Quixotic Records Random Records React Music Ltd Reader’s Digest Assoc. Ltd Recognition Distribution

Ltd Recoup Records Red Records Reign of Sound Ltd Relyte Records /



Resist Music Ltd RF Records Right Recordings Ltd Riverman Records Limited Roadrunner Records Rocstar Recordings Ltd Rolled Gold Records (RGR) RSK Entertainment Ltd

Ruf Beats Run Ltd Salt Records Ltd Sargasso SBS Records Science Seamless Recordings

Limited Sectioned Media Ltd

(formerly Enced Media) Seeca Music Ltd Seriously Groovy Music Ltd Serotonic Records Shaboom Records Shake Records/Peet Music

Ltd Silk Studios (Media

Release Ltd T/As) Silva Screen Records Ltd Silveroak Music

Entertainment Ltd Simply Vinyl Ltd Skint Records (Loaded

Records Limited t/a) Skylark Records Solaria Records Solemusic Industries Ltd SOMA Soma Recordings Ltd Sonic Nation Soul 2 Soul Recordings

(Premier Class Ltd t/as) Splank Records Stage One Starshaped Records Stretchy Records Limited Stylin Productions Ltd. Sub Tub Music Ltd Sunday Best Recordings

Ltd Supa Dupa Records Supercharged Music

Limited Supertone Records Tanty Records The Rajon Music Group UK

Limited Third Ear (Earwerk Ltd) Tic Toc Music Tidy Trax TKO Music Group Tommy Boy Music Limited


Townsend Music Ltd T/ATownsend Records

Track It Down Ltd Triple A Records Ltd Trust The DJ Tru-Thoughts Ltd Turbulence Records Ltd Turpin Music Ltd (Inc

Inertia Records) TWM Music Production Two To Tango Records Ltd Twopointnine Ltd / 2 point

9 Records Union Square Music Universal Egg Virtual Music Enterprises

Ltd Vision Records

Voiceprint Group ofcompanies

Volume Records Ltd Wagram Music UK ltd WARP Warp Records Wasp Factory West 5 Records Ltd Wot the Funk Records Ltd XL Recordings Xlantic Music Group Yakima Records Yummi Records Ltd Yup Records Zenith Cafe ZTT Records Ltd ZYX Records

4) Publishers

Anglo Plugging Music Artemis Music Ltd Audio Network plc Basement Music Ltd Big World Publishing Ltd BMG Music Publishing Ltd Boosey & Hawkes Music

Publishers Ltd Bucks Music Ltd Bug Music Ltd Bullseye Music Carlin Music Corporation Catalyst Music Publishing

Ltd Chrysalis Music Ltd CLM Columbia Publishing Wales

Ltd Constant in Opal Music Ltd Dejamus Ltd Digger Music EMI Music Publishing Ltd Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing


Publishing

Hyde Park Music Ltd Independent Music Group J Albert & Son Ltd Joustwise Ltd Kassner Associated


Ltd Late Callows Music MCS Music Ltd Mediatracks Music Library Memory Lane Music Ltd Menace Music Ltd Merseysound Ltd Minaret Music Ltd MoonRock Music Multiplay Music Ltd Musicalities Mute Song Ltd NorthStar Music Publishing

Ltd Odyssey Music Ltd Orestes Music Publishing

Ltd Paul Balance Music Ltd Paul Rodriguez Music Ltd Pink Floyd Music

Publishers Ltd Primrose Music Publishing

Ltd


PXM Publishing RAK Publishing Ltd Reverb Music Ltd Rive Droite Music Ltd Rock Music Company Ltd RSM Music Publishing Silva Screen Music Ltd Songstream Music Sony/ATV Music Publishing

UK Ltd Stage Three Music Ltd Star Street Music Ltd Stop Drosp & Roll Music

Ltd

Tairona Songs Ltd Universal Music Publishing

International Ltd University of York Music

Press Ltd Vitamin V Ltd Voiceprint Publishing Warner/Chappell Music Ltd West One Music Ltd Westbury Music Ltd Windswept Music Ltd Wipe Out Music Ltd Woza Music

5) Distributors

Alphamagic Ltd Amato Distribution AMD (Alternative Music

Distribution) Arabesque Distribution BMG EMI Kudos

Nova Sales andDistribution UK Ltd

Pinnacle Entertainment Pinnacle Imports Prime Distribution The CDCard Company Timewarp Distribution Universal

6) Retailers

23rd Precinct 2Funky A&A Music Action Records Asda City Sounds Dance 2 Records Disque Fopp HMV Music Zone

MVC Sainsbury Safeway Sanity Smallfish Records Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs

Cafe de paris Fabric Gossips Herbal Infinity club Kemia bar Madame jojo's

Ministry Of Sound Neighbourhood Scala london Spitz The Borderline The Vibe Bar Turnmills


8) Festivals

Cinefeel Creamfields Reading Festival The Big Chills

9) Managers

A J G Management Ltd Bandana Management Ltd Basement Music Ltd Big Cat UK Records Ltd Compass Global Music Creation Management Ltd Deluxe Management Deutsch-Engliesche

Freundschaft Elite Squad Management First Move Management

Ltd Graham Peacock

Management Heavenly Management Heavyweight Management International Management

Division Ltd

JFD Management Montana Artist

Management Nachural Records Patrick Jacobs

International Management Red Boots Management Riverman Management RPL Management Sahara Sound Shalit Global Management

and Entertainment Sharpe Management Sounds Like a Hit Limited Triibal Markings

Entertainment Xlantic Music Group


Cantaloupe Group Clear Channel

Entertainment UK Music Coda Agency Impro Agency Jovanovic Lubi Leyline Promotions

Red Alert Productions Serious Ltd The Hub Tru Thoughts // Zebra

Traffic Value Added Talent


BBC 1 BBC World Service Music Beat 106 Bullit Magazine Choice 107.1 FM

Cinefel CN Soho Live DJ Mag Dotmusic.com Fire 107.6 FM


Five Eight Galaxy 102 Heat Jockey Slut Kiss 100 FM Les Inrockuptibles Ministry of Sound Radio Mixmag MTV UK & Irland MTV Dance Resonance FM SPTV Urbanation The Hub TTR Magazine Tunes Ltd What’s on in London XFM Radio


Hip-Hop and R&B


After a relative lack of big selling titles in 2002, R&B asserted itself in both the singles andalbums markets in 2003. High profile releases from stars such as Beyoncé and R Kelly saw thegenre take an improved share of 8,4% in albums (up 1%) and 15,9% in singles, an increase ofover 8%. R Kelly overtook slightly on Beyonce’s sales thanks to his first album released in 1992. 11 years on, his hit single Ignition (Remix) and ensuring sales of his album catalogue saw himbecome the biggest selling R&B artist of 2003. Hip Hop’s share also improved in both markets,thanks principally to the outstanding year enjoyed by Black Eyed Peas (who had the biggestselling single of the year with Where is the love ?) and 50 Cent. After making a name forhimself on the underground circuit, 50 Cent crossed over in 2003 with his international hitalbum Get Rich or Die Tryin.

2) Majors

Arista Records UK Def Jam/Mercury Records London Jive Records Polydor UK Xl Recordings


1 Records Worldwide Ltd 3rd Kind Music Production 4 Da World Entertainment 4 Liberty Records Ltd A Klass Entertainment

Limited Absolute Marketing &


Ltd Adasam Ltd Airwave Records Ltd AJG Management Ltd Akara Solutions Ltd/Akara

Music Amato Amazing Grace Records Animal Noise Apartment 22 ARC Ariwa Sounds Ltd

Artist Network ARTISTdirect RECORDS Assassination Music Bandwagon Big Dada Blueprint Recordings BMP Broken Music

Publishing Ltd Boogiemedia Records Ltd Box Out Records Brightchoice & Sir George

Records Brother’s Records Ltd Buttercuts Ltd Buzzin’ Fly Records Ltd Cafe De Soul Caroline 2 Ltd Catskills Records Charly Aquisitions Limited Chocolate Boy Recordings

Ltd


Chocolate Fireguard MusicLtd

Circular Records Circus Classic Pictures

Entertainment Colossus Records Common Products Concept Music Concrete Recordings Ltd Copasetik Recordings UK

Ltd Cork Dog Records Ltd Crash Records / Starline

Promotions Curlique Records Ltd Cutz Recordingz db Records Delirious Records Delta Music Plc Demon Music Group Diaspora Communications Digital Hardcore

Recordings Discovery Records Ltd Dojo Studios Dome Records Ltd Dorado Records Duffnote Ltd Eagle Rock Entertainment

Plc Eastside Records Echo Label Ltd Edel “UK” Records Ltd Emerald Music(Ireland) Ltd EPARK UK Fabric Fairplay Records Faith Records FDM Records Fidela Flying Mountain

Productions Four Music Productions Fresh Entertainment Fresh Records Full Cycle Records Futureproof Records Gentle Electric Glasgow Underground Ltd Gotham Records Grand Central Records Gronland

Habana Productions Ltd Hail (Music From the


Half Full Music Limited Henry Hardaway

Organisation Ltd Hole In The Middle

Records Hombre Recordings Honey Beat Recordings Ltd Hospital Records (formerly

Tongue & Groove) Hot Records/Beyond The

Sea Ltd Hydrogen Dukebox In House Productions Independiente Ltd Inferno Records Invisible Hands Music Ltd Irish Intellectual Property

Services Ltd Jalapeno Ltd Jazz Fudge Recordings Jester Records Jumblefunk Records Kartel Ltd Keystone Records KFM Records Kitchenware Records Ltd. Krypton Records K-Tel Entertainment (UK)

Limited Lancaster Records Ltd Leaf Label Lemon Groove Records Lifewater Station Z M1 Music Ltd M19 Recordings (MS & M

International Ltd) Mantis Music Ltd T/A

Mantis Recordings Maple Record Ltd Marathon Music

International McGregor Acoustics Media Records Ltd (also

known as Nukleuz) Megabop Records Memnon Entertainment

Limited MFM Music (Cracklin’

Records)


Mighty Atom Records Ministry of Sound Mo’s Music Ltd More Protein Morpheus Records MoWax Mr Bongo / Disorient Multiverse Ltd Mumbo Jumbo Music of Life My Audiotonic Ltd Naim Audio Ltd Needlework Records Neita Original Records Nettwerk Productions UK Newsound 2000 Ltd Ninja Tune Novamute Off the Wharf Productions

Limited Offspring Records Oh Eye Records Opus Asia Records Orgy Records Ltd Outcaste Records P3 Music Ltd Palm Pictures Paul Casey Peacefrog Records PIAS Recordings UK Ltd Pickwick Group Limited Poptones Ltd Prestige Elite Records

Limited Pure Mint Recordings Ltd Pure Silk Ltd Quixotic Records Random Records Reader’s Digest Assoc. Lt Recognition Distribution

Ltd Red Records Reign of Sound Ltd Relyte Records /



Resist Music Ltd RF Records Right Recordings Ltd Righteous Babe Records Roadrunner Records

Rocstar Recordings Ltd RSK Entertainment Ltd Ruf Beats Run Ltd Salt Records Ltd Serotonic Records Shake Records/Peet Music

Ltd Silk Studios (Media

Release Ltd T/As) Silveroak Music

Entertainment Ltd Simply Vinyl Ltd Skylark Records Sledge Entertainment UK Slowfoot Records Smekkleysa/Badtaste SM

Ltd Solemusic Industries Ltd Soul 2 Soul Recordings

(Premier Class Ltd t/as) Spittoons Start Entertainments LTD Stylin Productions Ltd Sub Tub Music Ltd Supertone Records Tanty Records Terrapin Records The Rajon Music Group UK

Limited The Sound Foundation TKO Music Group Tommy Boy Music Limited Townsend Music Ltd T/A

Townsend Records Townsend Music Ltd T/A

Townsend Records Triple A Records Ltd Tru-Thoughts Ltd Turpin Music Ltd (Inc

Inertia Records) TWM Music Production Twopointnine Ltd / 2 point

9 Records Union Square Music Virtual Music Enterprises

Ltd Vision Records Wagram Music UK ltd Walking Oliver Records Warp Records West 5 Records Ltd XKman.com Ltd


Xlantic Music Group Yummi Records Ltd Zestzone

ZTT Records Ltd ZYX RECORDS

4) Publishers

A7 Music Anglo Plugging Music Asterisk Music Audio Network Plc Barry Collings

Entertainment Big World Publishing BMG Music Publishing Ltd Bocu Music Ltd Bucks Music Ltd Bug Music Ltd Bullseye Music Carlin Music Corporation Catalyst Music Publishing

Ltd Chrysalis Music Ltd CLM Columbia Publishing Wales

Ltd Constant in Opal Music Ltd Digger Music EMI Music Publishing Ltd Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing


Publishing Hornall Brothers Music Ltd Hyde Park Music Ltd Independent Music Group J Albert and Son Ltd Kassner Associated


Ltd Lojo Music Ltd Lorna Kirtland Music Ltd MCS Music Ltd

Memory Lane Music Ltd Menace Music Ltd Merseysound Ltd Minaret Music Ltd MoonRock Music Multiplay Music Ltd The Music Trading

Company Musicalities Paul Balance Music Ltd Peermusic Ltd Pink Floyd Music

Publishers Ltd Primo Music Ltd Primrose Music Publishing


Ltd RAK Publishing Ltd Reverb Music Ltd Rive Droite Music Ltd Rock Music Company Ltd RSM Music Publishing Sanctuary Music Publishing SATV Publishing Ltd Songstream Music Sony/ATV Music Publishing

UK Ltd Stage Three Music Ltd Star Street Music Ltd Stop Drop & Roll Music Ltd TKO Publishing Ltd Unforgettable Songs Ltd Universal Music Publishing

International Ltd Vitamin V Ltd Warner/Chappell Music Ltd West One Music Ltd Westbury Music Ltd Windswept Music Ltd


5) Distributors

Arabesque Distribution BMG Discovery Records Ltd EMI Nova Sales and Distribution UK Ltd Pinnacle Entertainment Revolver Music Ltd Universal

6) Retailers

A&A Music Action Records Asda Deckadance Disque Fopp HMV Music Zone MVC Rap & Soul Ltd

Sainsbury Safeway Sanity Sho’nuff---Beatz Workin’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs

Bar Academy Bartok Gossips Madame jojo's Neighbourhood The Vibe Bar

8) Festivals

The Big Chills The Hub

9) Managers

A J G Management Ltd Albert Samuel

Management Basement Music Ltd

Big Cat UK Records Ltd Compass Global Music Deluxe Management Empire Artist Management


Express Entertainment Ltd F&G Management Fruit IE Music Ltd Montana Artist

Management Musiclore Limited New Vision Arts

Management

Patrick JacobsInternational Management

RPL Management Shalit Global Management

and Entertainment Steve Marriott Licensing

Ltd Watercolour Music Worldmaster DJ

Management Ltd


Cantaloupe Group Clear Channel Entertainment UK Music Jovanovic Lubi The Hub


BBC Radio 2 BBC World Service Music Big Smoke Magazine Choice FM London Echoes Fire 107.6 FM Five Eight Galaxy 102 Heat Hip Hop Connection The Hub

Ministry Of Sound Radio Mtv uk & ireland MTV Base Music Week Resonance Fm Straight No Chaser The voice Time Out Vibe FM 105-108 Virgin Radio What's On In London


Jazz


In 2003, Jazz improved on 2002 performance taking 2,6%. Norah Jones was and still is the mainartist in the Jazz sector with her second album. But the emergence of new artists such asJamie Cullum also boosted overall Jazz sales. It is the first time since 1995 in the Jazz sectorthat the genre’s market share has increased. Norah Jones is the major seller with almost 30% of the genre’s sales. Jamie Cullum replaced Diana Krall as the second seller with 11,6% of the shares thanks mainly to his second release (and first for Universal Classics and Jazz).

2) Majors

Blue Note (Parlophone / EMI) Mercury Records London Sony Music Entertainment (UK) Universal Classics and Jazz (UCJ)


33 Records 3rd Kind Music Production A Klass Entertainment

Limited Ability Records Ltd Absolute Marketing &

Distribution Ltd Ace Records Acrobat Music and Media

Ltd Amazing Grace Records APEX Entertainment

Holding AVE (London) Ltd AVID Entertainment Beat Goes On Blow Up Records Buzz Records Cafe De Soul Candid Productions Ltd Caroline 2 Ltd Charly Aquisitions Limited Chocolate Fireguard Music

Ltd Circular Records Classic Pictures

Entertainment

Classical CommunicationsLimited

Concrete Recordings Ltd Curlique Records Ltd Darkjazz Delta Music Plc Demon Music Group Diaspora Communications Discipline Global Mobile Discovery Records Ltd Dorado Records Dramatico Entertainment

Ltd Dune Records Eagle Records Eastside Records Emerald Music(Ireland) Ltd EMI Classics & Jazz Ena Music Ether Music Ltd FDM Records Fellside Recordings Fidela Flying Mountain

Productions Habana Productions Ltd


Hail (Music From theHighlands & Islands ofScotland)

Half Full Music Limited Harkit Entertainment Ltd Head Kandi Henry Hadaway

Organisation Ltd Hospital Records (formerly

Tongue & Groove) Hot Records/Beyond The

Sea Ltd Invisible Hands Music Ltd Irish Intellectual Property

Services Ltd Jazz FM Records Jazz FM/Hed Kandi Jazz Fudge Recordings Just Music Kartel Ltd K-Tel Entertainment (UK)

Limited Leaf Label Lifewater Station Z Linn Records Lost Moment Records Ltd M1 Music Ltd Mantis Music Ltd T/A

Mantis Recordings Marathon Music

International Matrix Music Marketing McGregor Acoustics MFM Music (Cracklin’

Records) Mo’s Music Ltd Mr Bongo / Disorient Multiverse Ltd Music & Memories –

Haysbridge UK Ltd Naim Audio Ltd Name Music Neon Nettwerk Productions UK New Dawn Music New Note Distribution Ltd Newsound 2000 Ltd Nimbus Records Ninja Tune North Star Music

Publishing Ltd. Northern Sky Music Novamute

Offspring Records Outer Recordings P3 Music Ltd Passion Music Ltd Past Perfect Ltd Pavilion Records Ltd Pickwick Group Limited Prestige Elite Records

Limited Proper Music Distribution

Ltd Provocateur Records Ltd Pure Silk Ltd Reader’s Digest Assoc. Ltd Recognition Distribution

Ltd Relyte Records /

Beaumont St Studios Retrospective Recordings

Ltd RF Records Right Recordings Ltd Righteous Babe Records RSK Entertainment Ltd Sain (Recordiau) CYF Salt Records Ltd SBS Records Silva Screen Records Ltd Silveroak Music

Entertainment Ltd Simply Vinyl Slowfoot Records Soul 2 Soul Recordings

(Premier Class Ltd t/as) Spittoons Start Entertainments Ltd Survival Records Ltd Terrapin Records The Babel Label The Dune Music Company The Rajon Music Group UK

Limited Time Music International

Ltd TKO Music Group Total Quality UK Townsend Music Ltd T/A

Townsend Records Tru-Thoughts Ltd Turpin Music Ltd (Inc

Inertia Records) Union Square Music Upbeat Recordings Ltd


Virtual Music EnterprisesLtd

Voiceprint Group ofcompanies

Warp Records

Whatmusic.com Zestzone ZTT Records Ltd ZYX Records

4) Publishers

Artemis Music Ltd Ashley Mark Publishing Associated Board of the

Royal School of Music Ltd Asterisk Music Audio Network Plc Basement Music Ltd Big World Publishing Ltd Bocu Music Ltd Bucks Music Ltd Bug Music Ltd Carlin Music Corporation Catalyst Music Publishing

Ltd Columbia Publishing Wales

Ltd De Haske Music Ltd Digger Music EMI Music Publishing Ltd Essex Music Group Faber Music Ltd Fagus-Music.com Fat Fox Music Ltd Flashlight Music Publishers The Full Pitcher Music

Resources Habana Music Publishing

Ltd Hornall Brothers Music Ltd Hyde Park Music Ltd Independent Music Group John Stedman Music

Publishing Kassner Associated


Ltd Mark Rowles Music Ltd Maxwood Music Ltd

Merseysound Ltd MoonRock Music Multiplay Music Ltd The Music Trading

Company Musicalities Mute Song Ltd NorthStar Music Publishing

Ltd Obelisk Music Paragon Preston Stevens

Music Ltd Parrot Productions Ltd Paul Rodriguez Music Ltd Phoenix Music Primo Music Ltd Primrose Music Publishing


Ltd Rive Droite Music Ltd Schott & Co Ltd Silva Screen Music Ltd Songstream Music Stage Three Music Ltd Stainer & Bell Ltd Studio Music Company TKO Publishing Ltd Universal Music Publishing

International Ltd Valentine Music Group Voiceprint Publishing Warner/Chappell Music Ltd Warwick Music West One Music Ltd Westbury Music Ltd Winwood Music


5) Distributors

AMD (Alternative MusicDistribution)

AVID Entertainment BMG Discovery Records Ltd EMI Flute Worldwide Harmonia Mundi UK Ltd New note distribution

Nova Sales andDistribution UK Ltd

Pinnacle Entertainment Revolver Music Ltd Silva screen records Sony Music Entertainment

(UK) Universal

6) Retailers

Acorn Music Action Records British Jazz Britania Calligraph Records Compact Music Courtyard Jam Disque Fopp HMV Jumbo Records Mole Jazz Ltd

Music Zone MVC Ray’s Jazz at Foyles Sainsbury Safeway Sanity Sho’nuff---Beatz Workin’ Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs

Bartok Jazz Cafe 606 Club Kemia Bar Quecumbar Ronnie Scott's Spitz The Vibe Bar

8) Festivals

Bath Festival Trust Chard Festival of Women in Music Edinburgh Jazz and Blues Festival Fringe London Jazz Festival


South Hill Park / Blackwell Festival The Big Chills

9) Managers

Basement Music Ltd Beat that Music Ltd Big Cat UK Records Ltd Boss record and

management Brightchoice and Sir

George Records Compass Global Music Deluxe Management Harrison Parrott Musiclore Limited


RPL Management Serious Ltd Shalit Global Management

and Entertainment Triibal Markings



Clear ChannelEntertainment UK Music

Derby Jazz Impro Agency Leyline Promotions Marshall Arts Ltd

Sasa Music Serious Ltd The Hub Sublime Management


BBC I BBC Radio 2 BBC World Service Music BBC Radio 3 BBC 3 Mixing it Echoes Five Eight Jazz FM Lira

Ministry Of Sound Radio Music Week Resonance FM Straight No Chaser The Hub Time Out Tunes Ltd What’s On In London


Reggae


In 2003, Reggae sales grew in both markets, albums and singles, reaching a new high of 1,5% inalbums thanks to artists such as Sean Paul and several compilations. He represents on his ownalmost 30% of the sales in the reggae market - UB40 came second and its market shareaccounted for half of Sean Paul’s.

2) Majors

Mercury Records London Polydor UK


3rd Kind Music Production Ability Records Ltd Absolute Marketing &


Ltd Airwave Records Ltd Alchemy Entertainment

Ltd Almafame Amazing Grace Records Ariwa Sounds Ltd Artist Network Assassination Music AVE (London) Ltd AVID Entertainment Bandwagon Blood and Fire BMP Broken Music

Publishing Ltd Brightchoice & Sir George

Records Brother’s Records Ltd Bus Brains Connection

Records Buttercuts Ltd. Caroline 2 Ltd Charly Aquisitions Limited Colossus Records

Concrete Recordings Ltd Copasetik Recordings UK

Ltd Cork Dog Records Ltd Creole Records Ltd Crimson productions Darkjazz Delta music plc Demon Music Group Eagle Rock Entertainment

Plc Emerald Music(Ireland) Ltd EPARK UK FDM Records Fidela Gotham Records Greensleeves Records Habana Productions Ltd Hail (Music From the



Organisation Ltd Hot Records/Beyond The

Sea Ltd In House Productions Irish Intellectual Property

Services Ltd


Jet Star Phonographics Kartel Ltd K-Tel Entertainment (UK)

Limited Lancaster Records Ltd LKJ Records M1 Music Ltd M19 Recordings (MS & M

International ltd) Marathon Music

International Megabop Records MFM Music (Cracklin’

Records) Mi5 Recordings Mo’s Music Ltd Mo’s Music Machine Mohican Records Ltd Morpheus Records Multiverse Ltd My Audiotonic Ltd Naim Audio Ltd Neita Original Records Nettwerk Productions UK Newsound 2000 Ltd Novamute Offspring Records One Step Music Ltd Opus Asia Records Pickwick Group Limited Pleasuredome Poptones Ltd President Records Pressure Sounds Prestige Elite Records

Limited

Probe Plus Pure Mint Recordings Ltd Reader’s Digest Assoc. Ltd Recognition Distribution


Beaumont St Studios RF Records RSK Entertainment Ltd Run Ltd Silveroak Music

Entertainment Ltd Simply Vinyl Ltd Soul 2 Soul Recordings

(Premier Class Ltd t/as) Spittoons Tanty Records The Rajon Music Group UK


Ltd TKO Music Group Townsend Music Ltd T/A

Townsend Records Triple A Records Ltd Union Square Music Universal Egg Virtual Music Enterprises

Ltd Wienerworld Limited Xl recordings Yummi Records Ltd Zestzone ZTT Records Ltd

4) Publishers

Afric’Arts Music Connections Label UK

Asterisk Music Audio Network Plc Basement Music Ltd Big World Publishing BMG Music Publishing Ltd Bucks Music Ltd Bug Music Ltd Carlin Music Corporation Catalyst Music Publishing

Ltd

Digger Music EMI Music Publishing Ltd Fairwood Music Ltd Fat Fox Music Ltd Focus Music Ltd Habana Music Publishing

Ltd Home City Records

Publishing Independent Music Group Kassner Associated

Publishers Ltd


Kobalt Music PublishingLtd

Maxwood Music Ltd MCS Music Ltd Menace Music Ltd Merseysound Ltd MoonRock Music Multiplay Music Ltd Music Sales Ltd New Town Sound Ltd Paul Balance Music Ltd Paul Rodriguez Music Ltd Peermusic Ltd Pink Floyd Music

Publishers Ltd

Primrose Music PublishingLtd

Proper Music PublishingLtd

Reverb Music Ltd Jet Star Phonographics Rive Droite Music Ltd Rock Music Company Ltd RSM Music Publishing Songstream Music Stage Three Music Ltd Vitamin V Ltd Warner/Chappell Music Ltd West One Music Ltd Westbury Music Ltd

5) Distributors

BMG EMI Jet Star Phonographics Nova Sales and Distribution UK Ltd Revolver Music Ltd Universal

6) Retailers

Asda Britania Disque Fopp HMV Music Zone MVC Sainsbury


7) Clubs

Neighbourhood

8) Festivals

The Hub


Spitz

9) Managers

Basement Music Ltd Big Cat UK Records Ltd Compass Global Music Deluxe Management Face the music global

limited Gotham Records

New Vision ArtsManagement



and Entertainment Sharpe Management


Cantaloupe group Clear channel entertainment uk music Impro agency Jet Star Phonographics Marko Polo The Hub


BBC I BBC Radio 2 BBC World Service Music BBC Radio 3 BBC 3 Mixing it Echoes Five Eight Jazz FM Lira

Ministry Of Sound Radio Music Week Resonance FM Straight No Chaser The Hub Time Out Tunes Ltd What’s On In London


Metal


Metal, traditionally an album-driven sector also had an excellent year in 2003, increasing itsshare to 7,7% helped by breakthrough releases from the Darkness representing 9,7% of themusic genre sales and Evanescence 7,3% along with successful albums from Linkin Park, GoodCharlotte and Muse.

2) Majors

Mercury Records London Warner Music UK Sony music entertainment (UK)


1 Records Worldwide Ltd 3rd Kind Music Production Absolute Marketing &


Ltd Adasam Ltd Alchemy Entertainment

Ltd Almafame Angel Air Records Animal Noise Anticulture Records Ltd ARTISTdirect RECORDS Boss Tuneage (Mr A

Stephens t/as) Cacophonous Records Candy Productions Ltd Captain Oi Records Cargo Records UK Ltd Caroline 2 Ltd Chips Records Common Products Concrete Recordings Ltd Cork Dog Records Ltd Corruptive Records Crash Records / Starline

Promotions

Demon Music Group Digital Hardcore

Recordings Dry Run Recordings ltd Eagle Rock Entertainment

Plc Earache Records Eat Sleep Records Ltd Echo Label Ltd Edgy Records Ltd Emerald Music(Ireland) Ltd Epitaph Europe FF Vinyl Ltd Gentle Electric Gronland Gun Pure Records Habana Productions Ltd Hail (Music From the



Organisation Ltd Hiptonic Records Hot Records/Beyond The

Sea Ltd Invisible Hands Music Ltd Jungle Records


L K Records Ltd T/A LizardKing Records

Lancaster Records Ltd Lipstick Head Records Lost Moment Records Ltd Mighty Atom Records Mo’s Music Ltd Mohican Records Ltd My Audiotonic Ltd Newsound 2000 Ltd Novamute Occasion Recordings &

Publications Ltd Pickwick Group Limited Plastic Head Records. Poptones Ltd Probe Plus Proper Music Distribution

Ltd Pyrococcal Records Relyte Records /

Beaumont St Studios RF Records Right Recordings Ltd Righteous Babe Records Riverside Records Ltd Roadrunner Records

Rough Trade Records RSK Entertainment Ltd Sandman Records Scrotum Records Seriously Groovy Music Ltd Silveroak Music

Entertainment Ltd Simply Vinyl Ltd Skinny Dog Records Ltd Spank Records Spittoons The Rajon Music Group UK

Limited The Sound Foundation Time Music International

Ltd Townhill Records Townsend Music Ltd T/A

Townsend Records Transcopic Union Square Music Vinyl Japan (UK) Ltd. Visible Noise Wienerworld Limited Z Records ZTT Records Ltd

4) Publishers

BMG Music Publishing Ltd Carlin Music Corporation EMI Music Publishing Ltd Focus Music Ltd J Albert and Son Ltd Kobalt Music Publishing Ltd Late Callows Music Songstream Music V2 Music Publishing Ltd

5) Distributors

BMG EMI Nova sales and distribution uk ltd Plastic Head Revolver music ltd Southern record distribution (SRD) Universal


6) Retailers

Asda Britania Disque Fopp HMV Music Zone MVC Sainsbury

Safeway Sanity Tesco Virgin Megastores Virgin Express WH Smith Woolworths

7) Clubs

The Cavern Club Kartouche

8) Festivals

Big Cat UK Records Ltd Ozzfest Reading festival The Hub

9) Managers

Big Life Management Compass Global Music Creation Management Ltd Deluxe Management Fluent Music INS-YNC Interceptor Enterprises Middle 8 Management Out there Management Patrick Jacobs

International Management

Red Boots Management RPL Management Sanctuary Music

Management Ltd Shalit Global Management

and Entertainment Sharpe Management Subversive Music

Management Ltd


Clear ChannelEntertainment UK Music

The Hub



BBC I BBC World Service Music Bullit magazine Five eight MTV Uk & Ireland Music week The Hub Virgin Radio BBC Radio 2 BBC World Service Music Five Eight Ministry Of Sound Radio Mtv UK & Ireland Resonance FM The Hub The Voice Tunes Ltd


Folk/Celtic/Blues/Country


Folk music dropped 0,2% compared to 2002, representing 1,2% of the market shares. Celticmusic is not one of the major genres in the music market. However, Celtic music fans are veryactive in the festival field. In 2003, Blues music represents 0,3% but has lost some market sharesince 1995 when it represented 0,7%. Country music increased its share representing 1,8% ofthe music market shares due to artists like Shania Twain and Johnny Cash. It also underscoresCountry music’s performance in the singles market with 0,7%. Shania Twain is the biggest artistwith more than 15% of the country music share just for her album. Johnny Cash comes secondbut far behind with only 8,5% of the shares. More than one third of this market is monopolizedby two big artists in the UK.

2) Majors

679 Recordings Mercury Records London Sony Music Entertainment (UK)


3rd Kind Music Production Ability Records Ltd Absolute Marketing &


Ltd Adasam Ltd Alchemy Entertainment

Ltd Almafame Andmoresound Ltd Apex Entertainment

Holding Architecture Artist Network ARTISTdirect RECORDS AVE (London) Ltd AVID Entertainment Bandwagon Beat Goes On

Boom Chang Records Buzz Records Caroline 2 Ltd Charly Aquisitions Limited Circular Records Classic Pictures

Entertainment Cold Town Music ltd Concrete Recordings Ltd Cork Dog Records Ltd Crimson Productions Curb Records Ltd Cyberphonic Records Ltd Delta Music Plc Demon Music Group Dramatico Entertainment

Ltd Dreamy Eagle Rock Entertainment

Plc


Electric Records Ltd Emerald Music(Ireland) Ltd Epitaph Europe Face The Music Global Ltd Fat Fox Records FDM Records Firebird International Floating World Flying Mountain

Productions Foot Stompin Records Ltd Gotham Records Greentrax Recordings Ltd Habana Productions Ltd Hail (Music From the



Organisation Ltd Hot Records/Beyond The

Sea Ltd Instant Karma International Music Group

Plc Invisible Hands Music Ltd Irish Intellectual Property

Services Ltd K-Tel Entertainment (UK)

Limited Lifewater Station Z Linn Records Lock Stock and Barrel

Records LP Music MacMeanma Marathon Music

International Matrix Music Marketing MFM Music (Cracklin’

Records) Mi5 Recordings Mo’s Music Ltd Mohican Records Ltd Moksha Recordings Ltd Music & Memories –

Haysbridge UK Ltd My Audiotonic Ltd Nachural Records Naim Audio Ltd Navras Records Neita Original Records Neon

Nesta Records New Dawn Music New Note Distribution Ltd Newsound 2000 Ltd Northern Sky Music Novamute Offspring Records One Step Music Ltd Opus Asia Records Original Mind Songs P3 Music Ltd Park Records Past Perfect Ltd Pavilion Records Ltd Pickwick Group Limited Prestige Elite Records

Limited Probe Plus Proper Music Distribution

Ltd Quixotic Records Reader’s Digest Assoc. Ltd Recognition Distribution

Ltd Red Lightning Relyte Records /

Beaumont St Studios Reverential Records RF Records Right Recordings Ltd Riverside Records Ltd RSK Entertainment Ltd Rykodisc Ltd Sain (Recordiau) CYF Salt Records Ltd Saregama Plc Seeca Music Ltd Shake Records/Peet Music

Ltd Sharpe Music Shoeshine Records Silva Screen Records Ltd Silveroak Music

Entertainment Ltd Simply Vinyl Snapper Music Sonic Nation Start Entertainments Ltd Stylin Productions Ltd. Survival Records Ltd Tall Poppy Records The Rajon Music Group UK

Limited


Time Music InternationalLtd

Topic Records Townsend Music Ltd T/A

Townsend Records Transcopic Tru-Thoughts Ltd Twopointnine Ltd / 2 point

9 Records Union Square Music

Wagram Music UK ltd Weird Eye Records XL Recordings Xlantic Music Group Zenith Cafe Zestzone ZTT Records Ltd ZYX Records

1) Publishers

Angus Publications Asterisk Music Audio Network Plc Basement Music Ltd Big World Publishing BMG Music Publishing Ltd Boosey & Hawkes Music

Publishers Ltd Bucks Music Ltd Bug Music Ltd Bulk Music Ltd Bullseye Music Carlin Music Corporation Catalyst Music Publishing

Ltd Columbia Publishing Wales

Ltd Constant in Opal Music Ltd Curiad Cyhoeddiadau Sain De Haske Music Ltd Digger Music EMI Music Publishing Ltd Essex Music Group Faber Music Ltd Fagus-Music Ltd Fat Fox Music Ltd Focus Music Ltd Friendly Overtures Ltd Goodmusic Habana Music Publishing

Ltd Hornall Brothers Music Ltd Hyde Park Music Ltd Independent Music Group John Stedman Music

Publishing Kassner Associated

Publishers Ltd

Kobalt Music PublishingLtd

Lindsay Music Lojo Music Ltd Mark Rowles Music Ltd Maxwood Music Ltd MCS Music Ltd Mere Folk Merseysound Ltd Moggie Music Ltd Moncur Street Music Ltd MoonRock Music Multiplay Music Ltd The Music Trading

Company Musicalities Mute Song Ltd New Town Sound Ltd NorthStar Music Publishing

Ltd Obelisk Music Ocarina Workshop Orange Songs Ltd Paragon Preston Stevens

Music Co Ltd Parrot Productions Ltd Paternoster Music Ltd Paul Rodriguez Music Ltd Peermusic Ltd Phoenix Music Primo Music Ltd Primrose Music Publishing


Ltd PXM Publishing Rita Ltd Rive Droite Music Ltd Rock Music Company Ltd


RSM Music Publishing Schott & Co Ltd Silva Screen Music Ltd Songstream Music Ltd Sony/ATV Music Publishing

UK Ltd Stage Three Music Ltd Stainer & Bell Ltd Star Street Music Ltd Studio Music Company Thames Music Ltd TKO Publishing Ltd

Universal Music PublishingInternational Ltd

Valentine Music Group Voiceprint Publishing Warner/Chappell Music Ltd Warwick Music West One Music Westbury Music Ltd Windswept Music Ltd Winwood Music Woza Music

4) Distributors

BMG Cube Roots EMI Nova Sales and Distribution UK Ltd Pinnacle Entertainment Sony Music Entertainment (UK) TKO Music Group Universal

5) Retailers

Action Records Asda Britania Disque Fopp HMV Music Zone MVC Sainsbury


6) Clubs

Bartok 100 Club Paradise Bar 12 bar Gossips Spitz The borderline Quecumbar


7) Festivals

The Hub Alcester & Arden Folk

Festival Bishops Castle Folk

Weekend The Border Gaitherin,

Coldstream. Brampton Live Festival Bromyard Folk Festival

Burntwood Folk Festival Cambridge Folk Festival Chippenham Folk Festival Cleckheaton Folk Festival Crawley Folk Festival Edinburgh Jazz and Blues

Festival Folk Beat Derby Folkworks Girvan Folk Festival Holmfirth Folk Festival

Middlewich Folk & BoatFestival

Nantwich Folk and RootsFestival

The National Folk FestivalScotland

Otley Folk Festival Oxford Folk Festival Poynton Folk Festival Reedham Ferry Folk

Festival St Neots Folk Festival,

Cambridgeshire Southsea Folk and Roots

Festival Stainsby Folk Festival Stonehaven Folk Festival Teignmouth Folk Festival Wigan's Annual Day of

Folk, Seven Stars,Wallgate

8) Managers

AIR Basement Music Ltd Big Cat UK Records Ltd Cara Music Ltd Compass Global Music Deluxe Management Harrison Parrott Independent Music Group MacMeanma Marko Polo Nachural Records


Red Boots Management RPL Management Serious Ltd Shalit Global Management

and Entertainment Sounds Like a Hit Limited Triibal Markings



Adastra Clear Channel Entertainment UK Music Marko Polo The Hub Sublime Management



BBC I BBC Radio 2 BBC Radio 3 BBC World Service Music Blues and Soul Echoes Five Eight Les inrockuptibles The Hub Ministry of sound radio Music week Resonance fm Time Out Virgin radio


World


In 2003, world music album sales accounted for 0.5% in the total music market shares. Thiscompares to 0.4% in the four previous years. The genre does not register sufficient marketshare on singles to be listed in the BPI’s breakdown of singles by genre.

2) Majors

Mercury Records London Sony Music Entertainment (UK) Virgin Records


3rd Kind Music Production Acrobat Music and Media

Ltd Adasam Ltd Afion Records Ltd Alchemy Entertainment

Ltd Apartment 22 APEX Entertainment

Holding ARC Music Productions Ariwa Sounds Ltd AVE (London) Ltd AVID Entertainment A-Wave.com Ltd T/A A-

Wave Records Bandwagon Big Help Music Ltd Brightchoice & Sir Georges

Records Caroline 2 Ltd Charly Aquisitions Limited Chocolate Fireguard Music

Ltd Circular Records Classic Pictures

Entertainment

Classical CommunicationsLimited

Concrete Recordings Ltd Cork Dog Records Ltd Cyberphonic Records Ltd DB Records Delta Music PLC Demon Music Group Discipline Global Mobile Discovery Records Ltd Eagle Records Ekostar Entertainment Emerald Music(Ireland) Ltd Ether Music Ltd Face The Music Global Ltd FDM Records Firebird International Floating World Flying Mountain

Productions Fresh Entertainment Greentrax Recordings Ltd Gronland GUT International Habana Productions Ltd Hail (Music From the




Organisation Ltd Hiptonic Records Hot Records/Beyond The

Sea Ltd Independent Records Ltd International Music Group

Plc Irish Intellectual Property

Services Ltd Just Music Kaleidoscope Music Group

Ltd Kartel Ltd Lifewater Station Z LKJ Records M21 Marathon Music

International Matrix Music Marketing McGregor Acoustics MFM Music (Cracklin’

Records) Mi5 Recordings Mo’s Music Ltd Mohican Records Ltd Moksha Recordings Ltd Most Records Multiverse Ltd Music Factory


Music Mountain Music Ltd My Audiotonic Ltd Nachural Records Naim Audio Ltd Nation Records Ltd Navras Records Nettwerk Productions UK New Note Distribution Ltd New World Music Newsound 2000 Ltd Nimbus Records North Star Music

Publishing Ltd. Novamute Occasion Recordings &

Publications Ltd Offspring Records One Step Music Ltd Opus Asia Records Oriental Star Agencies

Original Mind Songs Outcaste Records P3 Music Ltd Palm Pictures Park Records Pickwick Group Limited Prestige Elite Records

Limited Proper Music Distribution

Ltd Putumayo UK Quixotic Records R and M Records Reader’s Digest Assoc. Ltd Real World Records Recognition Distribution


Beaumont St Studios Retrospective Recordings

Ltd Riverrun Records RSK Entertainment Ltd Rykodisc Ltd Salt Records Ltd Saregama Plc Sectioned Media Ltd

(formerly Enced Media) Sharpe Music Silva Screen Records Ltd Silveroak Music

Entertainment Ltd Simply Vinyl Slowfoot Records Stylin Productions Ltd. Survival Records Ltd Swaraj Records Tanty Records The Babel Label The Rajon Music Group UK


Ltd TKO Music Group Townsend Music Ltd T/A

Townsend Records Tru-Thoughts Ltd Tumi Music Ltd Twopointnine Ltd / 2 point

9 Records Union Square Music Virtual Music Enterprises

Ltd


Wagram Music UK ltd Whatmusic.com World circuit World music network Wrasse records Xl recordings

Xlantic Music Group Yup Records Zestzone ZTT Records Ltd ZYX records

4) Publishers

4AD Music Ltd A7 Music Afric’Arts Music

Connections Label UK Alfred Publishing Co Ltd Audio Network Plc Basement Music Ltd Big World Publishing Ltd BMG Music Publishing Ltd Bossey & Hawkes Music

Publishers Ltd Bucks Music Ltd Bug Music Ltd Constant in Opal Music Ltd Cyhoeddiadau Sain EG Music Ltd EMI Music Publishing Ltd Fairwood Music Ltd Friendly Overtures Ltd The Full Pitcher Music

Resources Habana Music Publishing

Ltd Hatton & Rose Publishers Independent Music Group J Albert and Son Ltd Kassner Associated


Ltd Lindsay Music

MCS Music Ltd Merseysound Ltd Moncur Street Music Ltd MoonRock Music Music Sales Ltd The Music Trading

Company Musicalities NorthStar Music Publishing

Ltd Obelisk Music Parrot Productions Ltd Paul Rodriguez Music Ltd Primrose Music Publishing

Ltd Promethean Editions Ltd Proper Music Publishing

Ltd PXM Publishing Rive Droite Music Ltd SATV Publishing Ltd Silva Screen Music Ltd Stage Three Music Ltd Unforgettable Songs Ltd Universal Music Publishing

International Ltd Warner/Chappell Music Ltd West One Music Ltd Woza Music

5) Distributors

AMD (Alternative MusicDistribution)

ARC Music Productions BMG Cube Roots Discovery Records Ltd EMI

Harmonia Mundi UK Ltd New Note Distribution Nova Sales and

Distribution UK Ltd Pickwick Group Pinnacle Entertainment Proper Music Distribution


Silva Screen Records Sony Music Entertainment

(UK) Sterns Music Terra Firma Music Ltd

Universal

6) Retailers

Asda Britania Disque Fopp HMV Music Zone MVC New Note Distribution LTD Reggae Revive Sainsbury

Safeway Sanity Sho’nuff---Beatz Workin’ Sterns Music Tesco Virgin Express Virgin Megastores WH Smith Woolworths

7) Clubs

Bar Cuba Ltd Bar Rumba Kemia Bar Quecumbar Spitz The Vibe Bar

8) Festivals

Bath Festival Trust Croydon Summer Festival Duckfest Larmer Tree Festival Salsa UK South Hill Park / Bracknell Festival Sri Lanka Festival of Music, Dance & Speech The Hub Womad

9) Managers

Basement Music Ltd Big Cat UK Records Ltd Compass Global Music Deluxe Management Nachural Records



and Entertainment Sublime Management


Triibal MarkingsEntertainment

Watercolour Music


Adastra African & Caribbean Music

Circuit Ltd African Music Agency Cantaloupe Group Clear Channel

Entertainment UK Music Coda Agency Como No Croydon Clocktower Far Side Music Ltd Impro Agency Jovanovic Lubi

Joyful Noise Latin Massive Marko Polo Marshall arts ltd Musicians Incorporated Sasa Music Serious Ltd Soundsfine Ltd The Hub The Shrine Whitby Musicport Yad Arts


Afrolatina.com BBC I BBC Radio 2 BBC World Service Music BBC London Live BBC Radio 3 BBC Radio 3 –Mixing It Bullit Magazine Caribbean Times Echoes Far Side Music Ltd Five Eight Froots Magazine Les Inrockuptibles MBC News Department Ministry Of Sound Radio New Nation Resonance FM Songlines Ltd Straight No Chaser Talking Africa The Hub The Voice The Weekly Gleaner Tunes ltd Virgin Radio

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