In today's CMU Daily: BMG is “potentially” open to “joining forces with a competitor”, as its 2023 figures show a 50% increase in revenue since 2020. Could a Warner Music acquisition be on the cards or would it make more sense for BMG to go up against WMG in bidding for Believe?

One Liners: HYBE, Teddy Swims, William Bell deals; Michael Jackson lawsuit; Splendour In The Grass cancelled; Great Escape speakers; Bruce Springsteen, ARIA awards; ‘This Is Spinal Tap 2’ cameos; Abbey Road Artist In Residence; Blockheads 45th anniversary shows; new music from John Cale, DIIV, Shygirl, Eivør

Also today: Diddy lawyer calls property raids an "unprecedented ambush"; BBC boss acknowledges that the licence fee needs to evolve, but cautions against making the broadcaster a niche service provider; Grassroots live music in the spotlight in Parliament; Female musicians face more discrimination and earn less than men, study shows

Plus: Setlist on the future of Manchester’s nightlife

As BMG’s 2023 numbers show continued growth, could a merger with Warner Music or Believe be on the cards?

As BMG announced its full numbers for 2023 and gave more detail on the continuing strategic repositioning of the business, the CEO of parent company Bertelsmann has told the Financial Times that BMG is “potentially” open to “joining forces with a competitor”.

The figures released yesterday show that BMG’s revenues for last year were €905 million, up from €866m in 2022. While that’s only a 4.6% increase year-on-year, it represents a full 50% increase in revenue since 2020 when BMG turned over €602 million. 

Over the same period, BMG has continued to make significant investments in rights acquisitions, spending an estimated €900 million to €1000 million over the same period, according to CMU analysis of data from previous Bertelsmann annual reports. The 2023 numbers, says the most recent Bertelsmann report, “were positively impacted by, among other things, high investments in catalogue acquisitions”.

BMG’s figures are released each year as part of parent Bertelsmann’s annual report. As a privately owned company, Bertelsmann is not required to publish the detailed numbers made available by publicly listed companies, but still releases a relatively detailed annual report each year. 

This is because, despite being privately owned, the company says that it is “capital markets orientated”, meaning that a lot of the deals it does involve private equity partners. This was the case for BMG, which - in its current form - was established in 2009 after Bertelsmann sold its stake in Sony BMG to Sony Music, before teaming up with private equity investors KKR to form a joint venture, with KKR taking a 51% stake in the company. It exited in 2013 when Bertelsmann took full ownership of BMG.

In an email to staff seen by CMU, the CEO of BMG, Thomas Coesfeld, said that “against the backdrop of an exceptional 2022, we have delivered a solid performance”. 2022 saw the company deliver a significant leap in revenues which increased 36.8% from 2021’s €633 million.

Coesfeld’s email also highlighted BMG’s current transitional phase, which he says is “the most fundamental shift in strategy and structure in the company’s history”. 

As previously reported, BMG pulled its catalogue from its distribution deal with Warner Music’s ADA, and has established its own direct deals with Spotify and Apple, and recently signed a new physical distribution deal with Universal Music. This “upgraded distribution”, says Coesfeld, is a “strengthening” of the company’s strategy to “offer the scope and tools of a major and the heart and dedication of an indie”. 

Earlier this year BMG announced details of a technology partnership with cloud computing company Rackspace that leverages Google Cloud’s “advanced AI and big data capabilities” to enable BMG to process royalty payment ten times faster and track music 50% faster. At the time, Maxime Rousson, BMG’s Cloud Architect, said “we've seen a huge increase in data harmonisation, analysis and processing velocity”.

Coesfeld went on to highlight BMG’s continuing strategy of “local where necessary, global where possible”, saying “we have set the organisation up for growth by empowering local repertoire leads alongside dedicated global marketing, sales and catalogue functions in a brand-new structure”. 

What was noteworthy about yesterday’s announcement - and the email sent to staff - was the rapid pace of the changes Coesfeld is pushing through to transform the BMG business, having only been in the job since 1 Jul 2023. 

BMG’s continuing commitment to the music rights market was also highlighted, with Coesfeld saying that the company has “confirmed plans for substantial investment in music rights, backed by an upgraded and rigorous investment model”. That “investment model” saw BMG team up once again with private equity investment partner KKR in 2021. 

When BMG initially joined forces with KKR in 2009 the partnership gave BMG access to a significant injection of capital to drive a rapid series of acquisitions. By the end of 2014 - and with BMG by that point 100% owned by Bertelsmann - the company held “2.5 million music rights, including 600,000 master rights, making it number four worldwide”. 

Since 2015, BMG has invested €1600 million in acquisitions, with more than half of that - €847 million - in 2021, 2022 and 2023, and €599 million alone in the two years 2022 - 2023.

Speaking to the Financial Times yesterday after announcing the group’s results, Bertelsmann CEO Thomas Rabe said that the success of BMG could be “an opportunity for a breakout investment and joining forces with a competitor” and that the time might be right for a “bigger step”.

However, the options for that “bigger step” would almost certainly be limited as it’s highly unlikely that regulators would allow BMG to join forces with Universal Music or Sony Music. Out of the majors, that leaves only Warner Music, which recently expressed interest in buying French artist and label services giant Believe. 

As CMU has previously reported, that deal may not be a cut and dried prospect, with potential regulatory barriers to Warner gobbling up one of the last significant independent music companies of scale in Europe. BMG has a significant share of the European market: in 2023 the company generated 10.3% of its revenues in Germany, 7% in France, 11.1% in other European countries - for a total of 28.4%, or around €256 million -  and a further 12.8% in the UK. 

On that basis, if regulators might be iffy about a Warner Music takeover of Believe, it would seem likely the same obstacles would come up if Warner wanted to swallow, or even just partner with, BMG - and even more so if that were to happen after a theoretical acquisition of Believe.

This leaves Believe itself as a possible “big step” partner. On many levels it would make a huge amount of sense for Europe’s two largest independent music companies to join forces. 

Both companies are roughly the same age, both have significant shares in key country-level markets across the EU, and both have made significant investments and strategic moves to use technology and business process optimisation to strengthen their “global local” strategies, with Believe’s “Central Platform” being a core part of its strategy.

Would a BMG x Believe deal be more likely to pass regulatory approval? Potentially. Would the optics of a deal between two European independent music success stories have more appeal than a US-led acquisition or one or both? Almost certainly. 

That said, with the clock ticking on Warner’s deadline to submit a binding, unconditional and fully funded offer for Believe, it seems unlikely that - at this point - BMG would be able to make a rival offer for the company. However, if Believe founder and CEO Denis Ladegaillerie is successful in his bid to take the company private as part of his consortium with EQT and TCV, there may be significant strategic and commercial sense in a BMG x Believe merger further down the line.

AXS Europe // Implementation Manager (London)

Double Six Rights Management // Performer Repertoire Lead (London)

AXS Europe // Implementation Project Manager (London)

Domino // Digital Operations Manager (London)

AEG Presents // Marketing Executive (London)

The O2 // Junior Accounts Receivable Assistant (London)

Domino Publishing // Assets Coordinator (London Hybrid)

Horizon is CMU's new weekly newsletter - published each Friday - that brings you a hand-picked selection of early-stage career opportunities from across the music industry.

Whether you're looking for your first job in music or you're ready to take a step up, Horizon is here to help you find your dream job faster.

👉 Click through to see the current selection.

ONE LINERS

HYBE, Michael Jackson, Bruce Springsteen + more

DEALS 

Universal Music has signed a new ten year agreement with HYBE to distribute the K-pop company’s releases worldwide. It extends and expands an existing partnership, and also includes Universal collaborating with HYBE’s superfan platform Weverse. "A partnership of this magnitude only comes together when both sides are equally committed to continued growth”, says HYBE Chair Bang Si-Hyuk. “UMG is an iconic music company and together with HYBE, the potential is endless. We are certain that this will expand our global footprint, while benefiting our fans, artists and labels”.

Warner Chappell has signed Teddy Swims to a global publishing deal. “THRILLED to be teaming up with Warner Chappell as my publisher”, he says. “Songwriting has always been the core of who I am as an artist and it will continue to be. It’s my therapy and having a team behind me that gets that means the world to me”.

Concord Music Publishing has signed an administration deal with songwriter William Bell. "We are beyond honoured to be working with William Bell - one of the true architects of modern American popular music, as songwriter, recording artist and entrepreneur”, says Tom DeSavia, SVP A&R at Concord. “It's incredibly exciting to be entrusted by Mr Bell to work alongside him and his team on his incredible body of work, both classic and contemporary”.

LEGAL

Micheal Jackson’s mother Katherine Jackson has filed a response to her grandson Bigi Jackson’s objection to her using funds from the late pop star’s estate to fight a legal battle against the estate’s executors. Bigi believes that an appeal against a previous ruling (reportedly relating to an attempt to block a $600 million catalogue deal) to be a waste of time. In her new filing, seen by People, Katherine argues that she should be allowed the money and that the beneficiaries of the estate - Jackson’s children, but not her - will not lose out.

LIVE BUSINESS 

Australia’s Splendour In The Grass festival has been cancelled, just two weeks after the event’s 2024 line-up was announced. “We know there were many fans excited for this year’s line-up and all the great artists planning to join us, but due to unexpected events, we’ll be taking the year off”, said organisers in a statement.

INDUSTRY EVENTS 

This year's Great Escape showcase festival is getting closer, taking place from 15-18 May in Brighton. CMU is no longer involved in programming the TGE Conference - having stepped down after delivering twelve successful editions - with a number of industry organisations curating the conference sessions instead, including the Night Time Industries Association and the Council Of Music Makers. A number of speakers were confirmed earlier today, including Jarvis Cocker, who will present a climate-themed talk in partnership with Brian Eno's EarthPercent charity. Record industry veteran Darcus Beese will be in conversation as he publishes his memoir 'Rebel With A Cause'. And, as part of the CMM-presented strand, Tom Gray will be in conversation with YolanDa Brown. More info here. 

AWARDS

Bruce Springsteen has become the first non-British songwriter to become a Fellow of The Ivors Academy. He will formally receive the honour at this year’s Ivor Novello Awards in London on 23 May. “I’m proud to be the first international songwriter to be recognised by The Ivors Academy”, says Springsteen. “In addition to recognising my songwriting, the award stands as a tribute to the fans and friends who have supported me and my work for the last 50 years. This entire country has made me feel welcome every step of the way, and for this, I will always remain deeply appreciative”.

The nominations for this year’s ARIA UK radio industry awards have been announced. The ceremony, hosted by Alice Levine and Romesh Ranganathan, will take place at the Theatre Royal Drury Lane in London on 7 May. See the full list of nominees here. 

ARTIST NEWS

Metallica’s Lars Ulrich and Red Hot Chili Peppers’ Chad Smith will make cameo appearances in the upcoming ‘This Is Spinal Tap’ sequel, according to Deadline. 

Jordan Rakei has been announced as the first ever Artist In Residence at Abbey Road Studios. “This is a significant moment for Abbey Road Studios as we introduce our Artist In Residence programme, a new chapter that underscores our commitment to fostering creativity and innovation within the music industry”, says MD Sally Davies. “We are THRILLED to welcome Jordan Rakei as our first ever artist in this role”.

GIGS & FESTIVALS

The Blockheads have announced three shows to mark their 45th anniversary later this spring. They will play The Ropetackle in Shoreham-by-Sea on 10 May and The Forge in London on 11-12 May. Tickets are on sale now. 

RELEASES

John Cale will release his latest album ‘POPtical Illusion’ on 14 Jun. Out now is new single ‘How We See The Light’. 

DIIV have released new single ‘Everyone Out’. Their upcoming album ‘Frog In Boiling Water’ is out on 24 May. 

Shygirl has released new track ‘Making The Beast’, which will appear on her upcoming ‘Fabric Presents: Shygirl’ mix, out on 26 Apr. 

Eivør will release new album ‘ENN’ on 14 Jun. Out now is lead single ‘Jarðartrá’.

MPs hear about the crisis in grassroots live music - a ticket levy might help, but how would that work?

The crisis in the grassroots live music sector was in the spotlight yesterday at a hearing of the UK Parliament's Culture, Media & Sport Select Committee, with artists, promoters, managers and various industry organisations giving evidence. 

At the hearing there was a general consensus that there is, indeed, a crisis in the grassroots live music scene. And, while this session is part of a Select Committee inquiry focused on grassroots venues, the entire grassroots music ecosystem needs support. That might, in part at least, come from an industry-led initiative that involves adding a levy on tickets for the biggest shows. However, there wasn’t a consensus on how exactly that levy system might operate. 

The acute challenges facing grassroots music venues are well known within the music industry. Earlier this year the Music Venue Trust revealed that 125 grassroots venues closed down last year, while 38% of those still operating reported a loss despite increased demand for tickets. Asked to discuss the ramifications of those closures at yesterday's hearing, MVT CEO Mark Davyd spoke about the impact on the music industry's talent pipeline, but also on the affected local communities. 

"The first impact we need to recognise is that 125 communities have lost access to live music on their doorstep", he told MPs. "And the impact on those communities, and on the artists who live in those communities, is very dramatic. The closure of spaces like Bath Moles obviously has a huge impact on the pipeline, but it also has a massive impact on Bath as a music city. And so I think we need to recognise that, across the country, we are seeing young people, communities and music fans finding music - live music - further and further away from them". 

"In terms of the short term economic impact", he continued, "those 125 venues will have provided 16% of all the performance opportunities in the UK. So we're talking circa 30,000 performance opportunities for artists. We're talking jobs, roughly 30 people at each venue, so that's about 4000 jobs which have come under threat or have been lost”. 

“I think we should also recognise”, he went on, “that 125 venue operators have lost the space that was an intrinsic part of their life, their careers. And we're not sure we're really what happens to those people. As for the longer term impacts, we are seeing a blockage in the talent pipeline. And I think that is very significant". 

As for the crisis in the wider grassroots music scene, later in the session David Martin from the Featured Artists Coalition was keen to stress that the impact of surging production costs and the cost of living crisis is hitting artists as much as venues. And therefore any solutions to tackle the crisis - whether government or industry-led - need to benefit all the stakeholders. 

"We've got rising costs, which impact artists in two ways”, he said. “The first thing fans stop spending on is potentially going out and leisure. And then the supply chain is very expensive". 

Artists may get a guaranteed fee from a show's promoter, he added, but they have to cover a lot of costs out of that fee, and the people they may need to hire are facing their own financial challenges."One of the artists that we work very closely with at the FAC at the moment has talked about losing her session musicians three times", Martin continued. 

"So she's had to reform the band three times and has eventually given up, because the costs have become so high. Then you add transport, you add accommodation, you add the fact that everybody's day rate is increasing, to the fact that you've got a potential compression in demand for tickets, that is having an impact". 

Mark Davyd also stressed that the challenges facing artists are a key concern. "All of my members will tell you one of their biggest concerns, frankly, is the artists cannot afford to tour", he said. "It's not just [that] the venues aren't there to play in. It's also that venues are standing empty when they could be putting on bands, because bands cannot afford to put on the show". 

So, while the whole grassroots music ecosystem obviously needs support - including venues and promoters - artists need direct support too. And past schemes to support the grassroots music ecosystem have often not been appropriate for or available to artists, the politicians heard. 

"If you look at the past four years", Martin continued, "business rates relief, Culture Recovery Fund, furlough, local authority grants and the Grassroots Music fund - not available to artists".

BBC boss says “bringing people together” is a priority, and future funding models must accommodate that objective 

BBC boss Tim Davie yesterday discussed how the public service broadcaster may be funded in the future. He acknowledged that the licence fee funding model needs to evolve, but cautioned against alternative approaches that would significantly reduce the reach of the Corporation. 

Presumably responding to those who see the BBC's future as an opt-in subscription service, Davie said, "We should not create another commercial walled garden or a narrow BBC that provides a niche service for the most hardcore users. The very wonder of the BBC is that quality news sits next to genres such as drama and sport thus ensuring widespread usage. This is a precious ecosystem". 

Earlier in his speech for the Royal Television Society, Davie identified "bringing people together" as one of the BBC's three core objectives, alongside "pursuing truth with no agenda" and "backing British storytelling". And, of course, the BBC wouldn't be able to bring the British people together if it became a niche service only accessed by those willing to pay a voluntary subscription. 

"All of us are increasingly consuming global content on platforms driven by algorithms that create the most commercially-potent relationship with a customer", he said. "These algorithms can create a very narrow version of personalisation, threatening social cohesion. In this world, shared moments and common cultural experiences are becoming more, not less, precious". 

US and Chinese tech companies cannot be relied on to provide social cohesion, he reckoned. Organisations like the BBC, he said, could and should be prioritising "algorithms and AI that bring us closer, not drive us apart. Personalisation, of course, but not driven by a narrow commercial return". 

What does that mean in practical terms? A BBC committed to investing in major mainstream 'event' TV shows, as well wide-ranging coverage of big cultural, political and sporting events, including music events like "Eurovision, the Proms and Glastonbury". 

BBC funding has been a big political talking point again in recent years, with a Conservative government that has forced significant cutbacks at the broadcaster via its control of the licence fee, the Corporation's primary revenue stream. 

The licence fee was frozen for a time, meaning that when inflation is taken into account the BBC was getting less money each year in real terms. When inflationary increases were reintroduced, the method adopted for calculating those inflationary increases resulted in a lower than expected price rise. 

It's no secret that some Conservative politicians would like the licence fee to be abolished entirely, often under lobbying pressure from commercial media owners. 

Former Culture Secretary Nadine Dorries declared in 2022 that that would happen when the current Royal Charter - which sets out how the BBC is funded - expires in 2027. Outright abolition of the licence fee is not currently on the table, though current Culture Secretary Lucy Frazer has instigated a review of BBC funding. 

It is generally believed that a future Labour government would be more sympathetic to retaining the licence fee well beyond 2027. However, with younger people consuming much less linear TV and radio output, and much more likely to engage with BBC content either via the broadcaster's iPlayer and Sounds apps, or actually on third party digital platforms, how the BBC is financed - and how the money is spent - will ultimately have to change in some way. 

None of that means that the BBC is irrelevant to younger generations, Davie insisted. "The BBC is still the UK’s number one media brand", he declared. "Nearly nine out of ten adults come to us per week and practically everyone, every month. The British public spend more time with BBC TV and iPlayer than all the big streamers combined. And we carry the UK’s voice, values and influence to a weekly audience of nearly 450 million people worldwide". 

As for the licence fee, he added, "There is no doubt that the market has changed hugely since the licence fee was introduced. And I think it is right to ask fundamental questions about its longevity in a world that is now full of choice. But we should be appropriately cautious about unpicking a multi-genre BBC that leads the market. However, we are not defensive about the future. We will need reform". 

With that in mind, he said, the BBC will undertake its own review of the licence fee, "looking at its scope, how it could be more progressive, and making sure its enforcement is fair and proportionate". Noting Frazer's review, Davie said he and his colleagues would "engage" with that too, but - seeking to take the BBC's future out of the hands of partisan politicians, to an extent at least - he insisted, "as ever, our most important relationship is with our owners, the UK public".

Sean Combs’ lawyer slams "unprecedented ambush" following Monday’s raids

A lawyer representing Sean 'Diddy' Combs has slammed the raids earlier this week on properties owned by the hip hop mogul in LA and Miami, dubbing the action by US Homeland Security an "unprecedented ambush" as part of a "witch hunt" based on a series of "meritless accusations". 

Attorney Aaron Dyer issued his statement yesterday as media interest in the raids - and the allegations that have been made against the musician - continued to surge. Rolling Stone spotted that a man recently referred to as Combs "drug mule" had been charged with drug possession, the tabloids went back to a recent lawsuit and spotted the reference to Prince Harry, and TMZ rigorously tracked the movements of Combs' private jet via a flight tracking website. 

Dyer's statement to journalists began, “Yesterday, there was a gross overuse of military-level force as search warrants were executed at Mr Combs’ residences. There is no excuse for the excessive show of force and hostility exhibited by authorities or the way his children and employees were treated. Mr Combs was never detained but spoke to and cooperated with authorities". 

Addressing speculation over whether any arrests or charges had been made against his client, Dyer continued, "Despite media speculation, neither Mr Combs nor any of his family members have been arrested, nor has their ability to travel been restricted in any way".

He then concluded, "This unprecedented ambush - paired with an advanced, coordinated media presence - leads to a premature rush to judgment of Mr Combs and is nothing more than a witch hunt based on meritless accusations made in civil lawsuits. There has been no finding of criminal or civil liability with any of these allegations. Mr Combs is innocent and will continue to fight every single day to clear his name". 

A number of lawsuits have been filed in recent months accusing Combs of sexual harassment and assault, as well as other unlawful conduct. That includes litigation filed by his former partner Cassie Ventura, which was immediately settled, and the legal action from former collaborator Rodney 'Lil Rod' Jones Jr, which sets out numerous allegations of illegal conduct against Combs and his entourage. 

Among the Combs associates discussed in Jones' lawsuit is Brendan Paul, who, it claims, "works as Mr Combs mule - he acquires and distributes Mr Combs drugs and guns". According to Rolling Stone, when federal agents caught up with Combs at a Miami airport on Monday, following the raids at his properties, Paul was among those with the musician. He was then taken into custody by police on cocaine and marijuana possession charges. 

A legal rep for Paul declined to comment on the specifics of those charges, simply stating, “We do not plan on trying this case in the media – all issues will be dealt with in court". 

Since Monday's raids, various newspapers have gone back to Jones' lawsuit and spotted the brief mention on page 63 of Prince Harry, turning that into a standalone story. 

That section of the lawsuit actually relates to legal claims made by Jones against Universal Music and its CEO Lucian Grainge, Combs having released his 2023 album 'The Love Story' in partnership with the major's Motown label. 

Jones alleges that Universal and Grainge "ignored the numerous red flags about Mr Combs" because of the commercial benefits of being aligned with the star. One of those benefits, he argues, was "the affiliation and access to Mr Combs' popularity". 

"Mr Combs was known for throwing the 'best' parties", it continues. "Affiliation with, and or sponsorship of, Mr Combs sex-trafficking parties garnered legitimacy and access to celebrities such as famous athletes, political figures, artists, musicians, and international dignitaries like British royal, Prince Harry". 

The allegation there, of course, is simply that Prince Harry attended at least one celebrity party hosted by Combs. However, it gave the tabloids an opportunity to spin another article out of Monday's raids that ticked the "let's bash Prince Harry" box. Albeit with the cautious "Harry isn't accused of anything" get out line, to avoid any legal problems with the famously litigious royal. 

Talking of the tabloids, as the raids got underway on Monday, TMZ started tracking journeys being taken by a private jet seemingly owned by Combs, leading to speculation that the musician was fleeing the feds by flying to a Caribbean island. 

That turned out not to be true. Combs was actually heading to the Bahamas, but on a scheduled holiday on a different plane. As the 'he's fleeing' speculation ran rampant, Combs was actually at an airport in Miami talking to agents and officers. 

Perhaps unsurprisingly, someone connected with Combs - or at least his private jet - has had the plane removed from the website TMZ was using to track its movements. When you search for the jet on that website you now get a message that reads, “This aircraft is not available for public tracking per request from the owner/operator".

Setlist Podcast: Is Manchester's nightlife at risk?

In this week's Setlist Podcast: Chris Cooke and Andy Malt discuss the ruling in the long-running noise dispute invovling Manchester's Night & Day that allows the venue to continue running club nights but potentially puts other nearby venues at risk, plus the BPI’s legal threats against a service that uses AI to create cover versions of songs in seconds.

🎧 Click here to listen - or search for 'Setlist' wherever you normally listen

Discrimination, lower pay and shorter careers are the norm for female musicians in the UK, study shows

Female musicians in the UK experience more discrimination, shorter career longevity and earn less than their male counterparts, according to new research published as part of the Musicians’ Census carried out by Help Musicians and the Musicians’ Union. 

“The Census findings, set out in this report, illustrate the many discriminatory practices and behaviours still holding women back in their musical careers”, says Musicians’ Union General Secretary Naomi Pohl. “We have long advocated for better pay gap reporting, and hope the Census findings will encourage the industry to take action, be more transparent and make change”.

Women made up 2526 of the nearly 6000 artists who responded to the survey, with their answers highlighting significant disparities when compared to musicians who are men.

More than half (51%) of the women who completed the survey said that they had experienced discrimination based on their gender while working as a musician, compared to 6% for men. A third (33%) also reported experiencing sexual harassment, while 25% said that they had witnessed the sexual harassment of other musicians.  

The responses also highlighted a distinct pay gap, with women earning on average £19,850 per year, compared to £21,750 for men. Women also only make up just 19% of the highest income bracket of those earning £70,000 or more from music each year. This despite the fact that women in music are generally more highly educated than men, both at a general and musical level. 

Financial pressures, as well as gender and age discrimination, are also shown to result in women leaving careers as musicians earlier than men. In younger age brackets, the distribution of working musicians between genders is close to 50/50. However, there is a significant drop off among older musicians, with just 26% identifying as women after the age of 54. 

Help Musicians chief exec Sarah Woods comments, “The findings of the latest Census report show there’s still so much work to be done to make sure that working as a musician is equitable for all. We hope these insights will encourage the industry to continue collaborating to reduce gender-based barriers and ensure gender equity in every part of music”.

The publication of these results from the Musicians’ Census follows a recent report from the UK Parliament’s Women And Equalities Committee, which found high levels of misogyny in the British music industry. 

You can read the new Women Musicians Insight Report in full - along with other reports on LGBTQ+ musicians, mental health, and finances - at musicianscensus.co.uk.