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Time of India
2 days ago
- Entertainment
- Time of India
Travis Kelce and Taylor Swift sighting in Tennessee sets social media ablaze as she bags historic global music honor
Taylor Swift has secured her position as the world's top recording artist for the third consecutive year (Getty Images) Taylor Swift has once again proven that she isn't just a musical sensation—she's a cultural juggernaut. According to the 2025 IFPI Global Music Report, the 14-time Grammy winner has officially secured her spot as the world's top recording artist for a third consecutive year. This historic feat not only underscores her unmatched relevance in the music industry but also positions her as the first artist ever to achieve this distinction three years in a row. IFPI confirms Taylor Swift's historic global music chart reign The International Federation of the Phonographic Industry (IFPI), which monitors music consumption across digital downloads, physical sales, and streaming platforms, announced that Taylor Swift once again tops their annual Global Artist Chart. Her explosive Eras Tour, cleverly timed re-recordings, and surprise album drops all contributed to a banner year that left even her closest competitors trailing in her wake. Behind her on the IFPI chart are some of the biggest names in global music: Drake holds strong at second place thanks to his unshakable streaming dominance, while K-pop powerhouse Seventeen lands in third, reflecting the genre's unwavering fan loyalty. Billie Eilish, Kendrick Lamar, and The Weeknd also appear on the list—but none came close to matching Swift's gravitational pull. A viral outing with Travis Kelce sparks fan frenzy While her professional accolades dominate headlines, Swift's personal life continues to capture equal attention. Most recently, fans were sent into a frenzy after Swift was spotted in Tennessee alongside Kansas City Chiefs tight end Travis Kelce. The couple appeared relaxed and low-key, but their sighting reignited curiosity across social media, generating thousands of fan posts and speculation about the state of their relationship. From the Grammy stage to casual café sightings with Kelce, Swift continues to command attention in every sphere she touches. Swift's growing influence goes far beyond the charts. With each move—whether artistic or personal—she blurs the boundaries between celebrity and cultural architect. Her presence isn't just about music anymore; it's about shaping trends, rewriting industry rules, and captivating millions along the way. Also Read: Swifties blamed for Travis Kelce interview leak as Bussin' With The Boys crew relives 'hacked' moment As 2025 continues to unfold, Taylor Swift isn't just leading the music industry—she's redefining what it means to be a global icon in real time. One award at a time, and one viral moment at a time.
Observer
16-05-2025
- Business
- Observer
Composing, publishing music remains one of complex challenges
Composing, publishing and distributing music remains one of the most complex challenges facing cultural production globally — not only due to protecting musical works, but also in ensuring fair compensation for all contributors to the creative process. This includes composers, translators, publishers, distributors and supporting technical professionals, as well as the protection of a nation's artistic heritage, which is deeply tied to its cultural and civilisational identity. Modern technologies have played a transformative role in promoting and distributing musical content across various platforms. Music, in particular, has benefitted significantly — gaining exposure and generating increasing financial and economic returns. The global interest in music today is not solely cultural or social, but also profoundly economic. Within the growing knowledge economy, music is recognised as a dynamic industry, linked to production, consumption and shifting audience preferences. Thus, music contributes not only to cultural preservation but also to economic stability for musicians, composers and producers. According to the Global Music Report 2025 by the International Federation of the Phonographic Industry (IFPI), recorded music has steadily grown over the past decade. However, the past year saw slower growth, impacting related creative industries and delaying recovery. Still, the report remains optimistic, noting significant potential for further expansion through innovation, emerging technologies and investment in both talent and infrastructure in developing music markets. The report underscores the vital role of production companies in sustaining and advancing the music sector. These companies are essential partners in identifying and nurturing talent, generating new revenue streams and connecting artists with audiences. Their work facilitates the commercial and creative success of artists at various stages of their careers. Moreover, they provide the resources for artistic development, innovation and technological support, allowing artists to fully express themselves and engage with their audiences. As intellectual property rights become a central concern for music-producing countries and companies, the rise of artificial intelligence poses a dual challenge. On one hand, AI fosters creativity and enhances artistic experiences; on the other, some AI firms — according to the IFPI — "consume" protected works by using copyrighted music to train their models, threatening the ownership and uniqueness of musical content. This raises serious concerns about copyright violations. The IFPI warns of widespread issues involving unauthorised downloads, redistribution, remixing, or alteration of protected works, posing challenges to digital broadcasting integrity and online protection. These infringements ultimately affect the financial viability of the music sector and undermine equitable income distribution among artists. Music, while being a historical expression of civilisations and traditions, also represents an economic asset that has long supported the livelihoods of creators. From instrument makers to composers, sound engineers to producers, the music community fosters cultural taste and appreciation. Many governments now recognise music's role as a pillar of cultural development and are investing accordingly. In response to the growing threat of AI-related copyright breaches, the World Intellectual Property Organization (WIPO) has dedicated World Intellectual Property Day 2025 to music, under the theme 'IP and Music: Sensing the Rhythm of Creativity.' This initiative affirms the rights of composers as central to the music industry and emphasises fair compensation for their intellectual contributions. Protecting music is not limited to standalone compositions or songs; it extends to all creative forms involving sound, including audiovisual works, video games, film scores and more. Ensuring these rights includes safeguarding those of publishers, broadcasters and distributors. Music is a core component of the audio-visual industries. Its protection demands coherent legal frameworks, effective policies and ethical practices that secure the rights of creators. This, in turn, fosters trust in the system, ensures financial fairness and provides a secure environment for artistic innovation. Oman, with its rich and diverse musical heritage, has actively worked to develop this sector through legislation and policy. It has implemented frameworks for intellectual property protection, encouraged musical institutions, supported creative talent and facilitated investment opportunities, particularly in traditional music groups across the governorates. However, the rapid advance of digital platforms and AI technologies poses new challenges. Music is increasingly vulnerable to exploitation and safeguarding it requires not only legal protection but also a shared ethical commitment. Upholding these rights is a collective responsibility — between institutions and individuals alike. Aisha al Darmaki is a researcher specialising in semiotics and a member of the State Council. The original version of this article was published in Arabic in the print edition of Oman newspaper on May 11, 2025. — Translated by Badr al Dhafari
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Korea Herald
07-04-2025
- Entertainment
- Korea Herald
[Grace Kao] Seventeen cinema tour in the US
Can concert films serve as a proxy for an actual concert? Seventeen is one of the most popular K-pop groups today. The International Federation of the Phonographic Industry identified Seventeen as the third biggest-selling global artists of 2024, just behind Taylor Swift and Drake. The group's most recent tour began on Oct. 12, 2024 in Goyang, Gyeonggi Province, and concluded on Feb. 16 in Bangkok. For those of us who couldn't make it to the live shows, or if one wanted to relive the experience, Hybe released a concert film in cinemas worldwide on a few select dates in early April. I consider myself a fan — enough that I can sing along to a dozen or so of their songs, but not enough to have ever seen them live or own a Seventeen light stick. I attended one of these screenings. The 14-screen multiplex theater I went to was in a large mall in Connecticut. The theater had a maximum capacity of 95 people. There were two showings — one on a Wednesday and the other on a Saturday. I was the first one there, so the theater was silent when I arrived. I was looking forward not only to the concert film, but also because I thought I had a row to myself. When I bought my ticket, there were 17 other seats booked. Eventually people began trickling in, and a group of three young women sat right next to me. I checked the seat map again, and now it showed that 26 tickets had been sold, including the three next to me. They were clearly excited — almost as if they were at an actual concert. For those who have not watched a K-pop or any other concert film in a movie theater, it is an odd experience. On one hand, it is much cheaper and easier to get to a movie theater. My ticket cost $20, a small fraction of what a concert ticket for Seventeen would cost, and parking was free. I sat in a wide recliner, which was comfortable enough for a nap and certainly cushier than my seat at any concert. On the other hand, it was much less invigorating than any concert I've ever attended. There wasn't a crowd of people handing out banners as is the case at many K-pop concerts. Light sticks were nowhere to be found in the movie theater. The concert film was shot at Goyang Stadium, which has a capacity of around 50,000 people. I suspect that other attendees had more fun than I did, but I can't say the same for the three 20-something year old women sitting next to me. In fact, they were as excited as some of the people at the J-Hope concert I recently attended. They took selfies — single and group ones. The theater was pitch-black, so I'm not sure how or why they took photos. They did this throughout the two-hour duration of the movie. They also took photos and videos of the performances as if we were at a concert. While they stayed seated, this did not prevent them from singing and dancing throughout the performance. They even giggled, almost hysterically at times. Under normal circumstances, these behaviors would have annoyed me. However, since we were pretending to be at a concert, I didn't mind. The concert itself was great. I saw a lot of Mingyu, Wonwoo, The8 and Joshua, but all of the members enjoyed some screen time. As usual, Hoshi was animated. Woozi, S. Coups, and Vernon were all fun to watch. The newest songs had a bit more autotune than I might have liked, but the group could clearly sing well live. In fact, the last song, 'Very Nice,' lasted about 10 minutes and had many live parts that required the audience to participate. DK, Seungwan and Dino nailed the prechorus. However, of the 13 members of Seventeen — I know it's confusing — only 11 were present. Jeonghan enlisted in the military just before this concert, and due to Korean conscription laws, the other Korean members will have to join by the time they turn 28. Members can also be absent for other reasons — Jun, who is Chinese and not in the military, was also absent due to acting obligations in China. For a group 10 years past its debut date, having 11 of its 13 original members is not bad. I suspect there will be future concerts with fewer members. I was a bit sad that they didn't perform 'Don't Wanna Cry,' 'Darl+ing,' 'Rock With You,' or 'Hot,' but I did enjoy 'Home,' one of my favorite Seventeen songs. The highlight was the aforementioned 'Very Nice,' primarily because of the fun audience participation. Was the film a satisfying substitute for their concert? For me, it's a definite no. However, the three women next to me might beg to differ. Grace Kao is an IBM professor of sociology and professor of ethnicity, race and migration at Yale University. The views expressed here are the writer's own. — Ed.
The Independent
23-03-2025
- Entertainment
- The Independent
Ed Sheeran writes urgent open letter to Keir Starmer for music education funding: ‘The time to act is now'
Ed Sheeran has written an open letter to prime minister Keir Starmer and the government calling for immediate, long-term funding of music education in the UK. He and more than 600 other artists and industry leaders, including Harry Styles, Elton John, Stormzy, Robert Plant and Eric Clapton, are appealing for a £250m UK music education package this spring to repair 'decades of dismantling music'. 'As an industry, we bring in £7.6bn into the UK economy, yet the next generation is not there to take the reins,' Sheeran said. The Grammy-winning singer-songwriter, 34, is one of Britain's most successful music exports. In 2017, his album Divide became the biggest-selling of the year worldwide, and was credited with helping to propel a record seven per cent growth in export revenues of British music. That same year, Sheeran appeared alongside fellow artists such as Styles and Sam Smith in the International Federation of the Phonographic Industry's (IFPI) global top 10, while Dua Lipa beat titans including Beyonce and Taylor Swift to become Spotify's most-streamed female artist. Seven years later, the landscape has changed drastically; last year was the first in over 20 years without a UK global top 10 single or album in the charts. 'We are writing collectively as artists, civil society and industry, appealing to your personal belief in music and the promise of opportunity for all under Labour,' Sheeran, citing the recent report, told Starmer in his letter. 'Learning an instrument and getting up on stage – whether in school or a community club – is now a luxury not every child can afford.' He added: 'The time to act is now. State schools – which educate 93 per cent of the country's children – have seen a 21 per cent decrease in music provision.' Enjoy unlimited access to 100 million ad-free songs and podcasts with Amazon Music Sign up now for a 30-day free trial Sign up He cited recent speeches from Brit Award-winning artists Ezra Collective and Myles Smith, who both called for better music funding at the 2025 ceremony this month. 'How many more venues need to close, how many music programs need to be cut before we realise that we can't just celebrate success, we have to protect the foundations that make it?' Smith, who received the Rising Star award, said in his address at London's O2 Arena. Ezra Collective, who in 2023 became the first jazz act to win the Mercury Prize, said: 'This moment right here is because of the great youth clubs, and the great teachers and the great schools that support young people playing music.' Sheeran also referenced culture secretary Lisa Nandy 's 10-point plan for the music industry, which she announced in January while hailing his hometown of Ipswich. She visited the area in Suffolk last year with Sheeran, later describing 'an entire ecosystem through from equipping young people with those skills and that love of music at school, all the way through to being able to perform at smaller live music venues, larger live music venues and get the skills that they need to work in the music industry'. 'That is a model that we would like to replicate around the country,' she said. Sheeran has also called on education secretary Bridget Phillipson, foreign secretary David Lammy, business secretary Jonathan Reynolds and health secretary Wes Streeting to 'stand up for music education'. 'Artists and industry can't deliver on the world stage for the UK without schools, youth clubs and stages at home,' he said. 'Music in and out of school should be for all, not a few.' The letter lays out five key areas for improvement for music in the UK: music funding in schools, training for music teachers, funding for grassroots venues/spaces, music apprenticeships, and a diverse music curriculum. Sheeran is backed by fellow stars including Harry Styles, Elton John, rappers Stormzy, Dave and Central Cee, pop band Coldplay and Annie Lennox. Other co-signers include director Richard Curtis, Sony Music UK chairman and CEO Jason Iley, presenter Dermot O'Leary, and producer Fred Again. The letter comes after the musician launched the Ed Sheeran Foundation in January, a nationwide initiative aimed at providing inclusive, high-quality music education. The musician, who has 14 UK No 1 singles to his name and eight UK No 1 albums, has become known for his charity efforts in recent years, setting up the Ed Sheeran Suffolk Music Foundation (ESSMF) and donating to his former school, Thomas Mills High School and Sixth Form, in Framlingham.
Reuters
19-03-2025
- Business
- Reuters
Music revenues rise again in 2024, boosted by streaming subscriptions, report shows
LONDON, March 19 (Reuters) - Subscription streaming boosted global recorded music revenues for a tenth straight year in 2024, by 4.8% to $29.6 billion, an industry group said on Wednesday, while urging policymakers to protect artists from copyright threats by artificial intelligence developers. Subscriber numbers rose 10.6% to 752 million worldwide, the International Federation of the Phonographic Industry said in its annual Global Music Report. Revenues topped $20 billion for the first time, with paid subscriptions posting 9.5% growth, while advertising-supported formats were up by 1.2%. Performance rights revenues grew 5.9% to $2.9 billion. Revenues for physical formats fell 3.1% to $4.8 billion after a strong 2023. While CD and music video revenues fell, vinyl marked its 18th consecutive year of growth, up 4.6%. "The essential role music plays in so many parts of our lives is evidenced in the continued growth of the global industry," IFPI Chief Executive Victoria Oakley said in a statement. "There is still great potential for further development, through innovation, emerging technologies, and investment in both artists and the evolving parts of the growing global music ecosystem." Revenues rose in all regions, the fastest in the Middle East and North Africa at 22.8%, followed by Sub-Saharan Africa at 22.6% and Latin America at 22.5%. Europe, which accounts for more than a quarter of global recorded music revenues, scored 8.3% growth. Australasia revenues increased by 6.4%. The U.S. and Canada, representing around 40% of global revenues, posted 2.1% growth, while Asia, the third-largest region, chalked up a 1.3% gain. Oakley noted AI's potential to enhance artist creativity and develop new fan experiences, but warned of the dangers of generative AI system developers using copyright-protected music to train their systems without authorisations from rights holders. "We are asking policymakers to protect music and artistry," she said. "We must harness the potential of AI to support and amplify human creativity, not to replace it."
