Latest news with #InternationalFederationofthePhonographicIndustry
09-07-2025
- Entertainment
Burna Boy's 'No Sign of Weakness' fulfills his rock star dreams
NEW YORK -- While classmates dreamed of becoming teachers, doctors and professional athletes, Burna Boy was clear on his future aspirations. 'They would hand out the papers and the question would be, 'What you wanna be?' … I'd write 'rock star,'' said the Afrobeats giant. 'One of my teachers asked me, 'What do rock stars do?' I didn't really know what to say.' These days, the Grammy winner's music talks for him. Fresh off becoming the first African artist to sell out Paris' iconic Stade de France in April, Burna Boy has been on an incredible run, and hopes it continues with his new album out Friday. ''No Sign of Weakness' is really like a celebration of the fact that that I'm still here throughout all these years and all the trials and tribulations,' explained the Nigerian artist. 'I decided to intentionally make sure everyone on this project could comfortably and genuinely say they're a rock star.' Following 2023's Grammy-nominated 'I Told Them…,' this project includes blockbuster features, like legendary Rolling Stones frontman Mick Jagger, country hitmaker Shaboozey and hip-hop heavyweight Travis Scott. Writing on all 16 tracks, Burna relied on his standard successful creation process: record constantly, choose some songs from his vault that fit his decided theme, and then craft the project around them. He's already dropped 'Bundle by Bundle,' 'Update,' which features an interpolation of Soul II Soul's classic 'Back To Life,' 'Sweet Love' and 'TaTaTa' featuring Scott. Music from Africa has exploded globally in recent years. Regions in Africa and the Middle East reached double-digit gains in music revenue last year, according to the International Federation of the Phonographic Industry. In 2023, the group reported that sub-Saharan Africa was the fastest-growing music industry, with artists like Burna, Davido and Wizkid leading the way, along with Tyla, who's spread South Africa's Amapino sound. 'I feel blessed. I also feel great responsibility … I'm blamed for everything, most especially, things I couldn't possibly be responsible for,' said Burna, alluding to demands in Nigeria. 'I don't vote, and I've never done it. But now, it's to the point where even that: if I don't vote, because I don't say I'll vote for this person or vote for that person, it's a problem.' But that weight of responsibility isn't felt on his eighth studio album. 'Dem Dey,' a tongue-in-cheek bop referencing his gossipy social media scandal with a Nigerian influencer which amused fans, is sure to crowd dance floors, while he and Jagger formed a dynamic duo on the Afrobeat-rock hybrid 'Empty Chairs.' 'That's how I see the future of our music … music that's supposed to last, music that you can perform forever,' said Burna, who collaborated with the 81-year-old by trading ideas through WhatsApp after being connected by supermodel Naomi Campbell. 'That's where I want to be when I'm that age.' For his country-infused 'Change Your Mind' with Shaboozey, the pair plead for second chances after souring relationships. 'Here's an Igbo boy from the eastern part of Nigeria who comes to America as a young guy,' said Burna of the 'A Bar Song (Tipsy)' singer. 'He's flourishing in the country world. If I'm not proud of that, then I don't think I can be proud of anything in life.' The Afrobeats superstar, currently featured on the soundtrack for the blockbuster 'F1" movie starring Brad Pitt and Damson Idris, hopes the genre continues to thrive and not become a fad. But while the female artists are united, the top men have experienced friction in the past. 'We need to figure how to make our diversities into an advantage instead of a disadvantage, and that goes across — not just for Nigeria," said Burna, whose grandfather managed Afrobeat icon Fela Kuti. "It goes for everything Black and African, because the only thing we always lack is strong organization.' While some artists have expressed ideas on unification, Burna Boy is cautious. 'When we're talking about uniting ... We're talking about people who actually can help matters,' he said. 'I don't want to discuss with people that it's just going to end up a discussion, and there's not going to be any action.' For the moment, he's pressing forward. The 'Last Last' artist launched his world tour this week with North American dates beginning in November. It features a circular stage, providing fans an equally enjoyable musical experience — although he's certain he'll enjoy it more. 'This is going to sound selfish as hell — but I definitely have more fun than everybody … when I die, I want to go to a stage in Heaven,' said Burna. 'Every time I watch myself perform, I see a big smile on my face that I never see anywhere else.'
Asahi Shimbun
22-06-2025
- Entertainment
- Asahi Shimbun
Japan's music industry seeks to expand abroad beyond CD sales
Mrs. Green Apple wins the Best Japanese Song Artist award in the first Music Awards Japan ceremony at Rohm Theater Kyoto on May 21. (©CEIPA/MUSIC AWARDS JAPAN 2025) A new awards gala was held to spread Japan's pop music to the rest of the world, but the struggling domestic industry may have to ditch its traditional practices to enable expansion. The inaugural ceremonies of Music Awards Japan were held at Rohm Theater Kyoto on May 21 and 22. The red carpet was rolled out for industry officials and artists, including guests from overseas. One stated goal of the awards is to help 'spread the music of Japan and the rest of Asia to other parts of the world and forge global connections.' The award organizers set up a number of categories honoring overseas songs, including 'Best Song Asia,' apparently in hopes of connecting the awards with other Asian nations. Japanese music industry officials are eyeing the global market because of a sense of alarm about what is happening in Japan. 'The domestic market has matured fully and flattened off,' Tatsuya Nomura, chairman of the Music Awards Japan Executive Committee, told The Asahi Shimbun on May 22. 'Now is the time to expand geographical coverage.' Figures of the International Federation of the Phonographic Industry show the global recorded music market was worth $29.6 billion (4.3 trillion yen) in 2024, up 1.6-fold from five years earlier. By contrast, the Recording Industry Association of Japan said the production value of 'physical products' and sales of 'digital music' in Japan totaled 328.5 billion yen in 2024, up only 1.1-fold from 2019. Despite the ease of digital streaming to push music beyond national borders, physical media remain dominant in Japan. Popular idol groups affiliated with Smile-Up Inc., formerly Johnny & Associates Inc., have continued to emphasize CD sales. The IFPI figures show that streaming accounted for about 70 percent of the global recorded music market in 2024. However, streaming accounted for slightly more than 30 percent of total music revenue in Japan last year, the RIAJ figures show. CDs and other physical products made up more than 60 percent. There are, however, signs of change. The KinKi Kids and Snow Man idol units previously affiliated with Johnny & Associates embarked on a subscription streaming campaign in spring. Gustav Gyllenhammar, a //global vice president// with music streaming service operator Spotify AB, told The Asahi Shimbun that he believes Japanese artists are now facing lower hurdles to reach out to listeners abroad. Gyllenhammar pointed out, however, that Japanese music industry officials will have to make efforts on every front of the market, including artists and labels, if they wish to obtain more listeners. (This article was written by Shiki Iwasawa and Kenichiro Shino.)
Time of India
09-06-2025
- 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.
