In the past few years, an intriguing cast of characters have championed British creativity on a global stage. Olivia Dean and Lola Young scooped up Grammys, while Yungblud, RAYE, PinkPantheress, Sam Fender and more all brought their own distinct personalities and sounds to some of their biggest-ever audiences. These new faces bring fresh approaches and daring ideas, and push our scene into the future.
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That spirited attitude has filtered down to the executives who work across the U.K.’s music sector as it jostles to retain its position as the world’s third-largest market. Billboard U.K.’s inaugural 40 Under 40 list looks to capture the rising executives that are setting the standard for their peers and leading from the front.
Submissions opened in August, with executives able to submit their eligible peers via an open nominations form. The responses were then considered by Billboard U.K. editors before the successful candidates were selected; each executive can only appear on the 40 Under 40 list once. The launch of the list follows the publication of Billboard U.K.’s Power Players list in June, which recognizes senior leadership at selected companies.
Honorees will be celebrated at a special event at Beyond The Music conference and festival in Salford, Greater Manchester on Wednesday (Oct. 7), attended by key industry executives, policy makers and artists.
See the class of 2026 for Billboard U.K.’s 40 Under 40 list below.
Michael Adex
Founder & CEO, NQ
After founding NQ at age 20, helping steer rapper Aitch toward mainstream stardom and a BRIT Award while supporting a wealth of local talent, Adex is now expanding the Manchester entertainment company “further into my other passions: sport, film and TV.” In 2026 alone, NQ has launched Creamfield Recordings alongside the U.K. dance festival of the same name, while securing Aitch a Netflix documentary, Don’t Be Afraid, to tell the story of his January 2025 climb of Mount Kilimanjaro that raised over £160,000 for the Down’s Syndrome Association. “NQ was never meant to just be a music company, we want to build businesses, brands and talent on a holistic level within culture,” Adex adds. Now 30, he has also set up NQ Legacy, a community outreach project to assist young people in finding their place in the arts, and is calling on “the major [labels], the DSPs, the big promoters and government to invest in impact, not just activity.”
Bradlee Banbury
Music brand partnership agent, Creative Artists Agency
“A good agent should put pressure on themselves to deliver for their clients and not wait for others to do so,” says Banbury, 38, who has delivered landmark brand deals and performance opportunities for talent including Jennifer Lopez, Jorja Smith, Hans Zimmer, Sam Smith and Katy Perry across the luxury fashion, beauty, travel and retail sectors. Most recently, he has helped Zimmer to “develop a new sonic identity and bespoke inflight music” for Qatar Airways. “If I had to list off every upcoming work-related project that I was excited about, the list would never end,” he adds, with former Billboard U.K. cover star Loyle Carner coming onboard as his latest client.
Ishsha Bourguet
Director & agent, THE•TEAM
Starting out as a DJ in South Africa, Bourguet now oversees a roster encompassing global stars and future U.K. talent at The•Team. The past year has seen her elevate ascendant pop star Tyla from a slot on the All Points East main stage through to an upcoming headline U.K. tour and guide amapiano upstart Skyla Tylaa to a sold-out KOKO show in London. “We all have a responsibility and duty of care to invest in the next generation,” the 39-year-old says of the responsibility she feels to pay it forward. “This can range from mentorship to offering your time to speak with young people at youth centres and schools, and, of course, ensuring there are paid positions such as internships available at your company. There is nothing more valuable than gaining experience and knowledge.”
Alex Burford
Managing director, Warner Records U.K.
The team of executives that Burford and Warner Records U.K. is building is full of “dynamic, entrepreneurial and creative thinkers” that approach “campaigns in a completely modern way.” He points to the “incredible” results for signee PinkPantheress and her Fancy That mixtape, which featured Billboard Global 200 chart-topper “Stateside (Remix)”. Now, Dua Lipa’s “Training Season” is storming up the U.K.’s Official Singles Chart two years after its release, landing back inside the top five. “I don’t think any other combination of executives would have delivered those campaigns,” he concludes.
Rivca Burns
Head of music, Factory International
“We need to champion diversity, be patient with learning and not be afraid to fail,” says Burns, 39, who has served as head of music at Manchester’s state-of-the-art Aviva Studios for the past three years, home of arts group Factory International. It’s a philosophy that the 39-year-old lives by, having tirelessly championed the city’s grassroots music community at a national level while pushing the boundaries of what’s possible for artists at the venue. Over the past year, that has meant helping develop the Music Growth Package with Arts Council England and programming ambitious projects with artists including Ezra Collective, Nia Archives, Bonobo and Nubya Garcia. She’s particularly excited about the 2027 edition of the flagship Manchester International Festival, which she says will offer “something truly unique for audiences.”
Tom Coulson-Smith
Vp of A&R, Concord
Coulson-Smith, 38, has developed and honed an eclectic roster of songwriters, producers and artists at Concord from the likes of Mount Kimbie and Yazmin Lacey, to Wesley Joseph and Biffy Clyro. In 2025 and 2026 so far, Concord writers have contributed to 14 No. 1s on the U.K.’s Official Albums Chart, including Olivia Dean’s The Art of Loving; Dave’s The Boy Who Played the Harp; and Gorillaz’s The Mountain. “It’s rewarding to see our writers contributing to music that is resonating both in the U.K. and around the world,” says Coulson-Smith. A valuable career lesson remains his driving force: “Sign the music you genuinely believe in, surround yourself with good people, and do the work the right way. If you stay true to those things, good work has a way of rising to the top.”
Menna Dief
Promoter, Live Nation
Dief’s past year has been defined by three major milestones in the representation of Arabic music in London: promoting Angham’s Royal Albert Hall debut, the first headline performance at the venue by an Egyptian artist since 1976; orchestrating Omar Khairat’s presentation of Arabic composition at the Hall; and helping launch Maharajan, a one-day festival at Crystal Palace Bowl. Raised between Baheira and Cairo, Egypt, much of Dief’s time with Live Nation as a promoter has been guided by a desire to connect the diaspora with its cultural roots, while pushing the live industry to “give chances to new visions,” which she has achieved through the aforementioned shows. There are “a lot of things in the pipeline for 2027,” the 27-year-old says, “including some artists that London has not seen in decades.”
Rebecca Dixon
Global head of marketing & strategy, Various Artists Management
A key driving mantra for Dixon in her role has been listening to artists and “not sticking to things formulaically because it’s worked for someone else.” Dixon, 32, played an integral part in the roll-out for Melanie C’s Sweat LP, which reached No. 3 on the U.K ‘s Official Albums Chart, the highest-ever placing for a solo project by any of the Spice Girls: “She’s the most inspiring and hardworking person and encourages that in everyone around her too.” Dixon’s next focus will be the sophomore album from dance-pop act Rose Gray. “She’s just such a talent and has an incredibly strong vision,” Dixon says. “I can’t wait for people to discover and absorb themselves into her album and world.”
Sabine Fell-Douglas
COO, Publishing, Believe
At Believe, Fell-Douglas has spent the past year working to expand the role publishing operations played for writers, from those creating their first song to chart-topping artists. This means moving publishing beyond a function that operated quietly in the background and making it something that actively created value and opportunity for writers at every stage of their careers. Building greater visibility across registration, song earnings, and data matching, demonstrates to Believe’s roster of signees that “transparency should not be a USP, it should simply be the standard,” Fell-Douglas, 35, says. “If it’s your song and your money, you should be able to understand what’s happening to it.”
Sarah Gabrielli
Head of A&R, Sony Music Publishing U.K.
In her role as head of A&R, Gabrielli, 36, has worked to not be “distracted by the noise of the industry and instead keep my focus on the songs.” Recent signings to Sony Music Publishing by Gabrielli’s team include Little Simz, Olivia Dean, Myles Smith, Dave and EsDeeKid, proving that SMP U.K.’s “creative team have really been shining and achieving this year.” Developing and empowering talent in her team is paramount to this success: “It’s vital the industry always works to grant young people the space to express themselves and bring ideas to the table,” she says, to allow “progressive and innovative approaches to develop.”
Anu Gantumur
Executive of Creative Europe, BMI
“I deeply believe in the saying that great music transcends barriers,” Ganumur says of her mission at the BMI. As such, she’s worked to create international opportunities for U.K. talent, including curating the performance rights organization’s stages at U.S. festivals such as Lollapalooza, SXSW and ACL, with appearances for U.K. acts Sasha Keable, Chloe Qisha and Ben Ellis. Gantumur, 30, also partnered with BMI’s Nashville Creative Team on an exclusive London Q&A with Ty Myers during the recent Country 2 Country Festival. “Whether it’s language, genre, territory, or culture, I find that my work often has me at the forefront of cross-cultural exchange,” she concludes.
Jack Greengrass
Head of A&R, Island EMI Label Group
Lola Young, The Last Dinner Party and Jacob Alon — the latter of whom won the BRITs’ Critics Choice prize and two Ivor Novello Awards — collectively serve as just a taster of the recent successes for Island Records’ roster. The skills of A&R in current age, Greengrass says, remain steadfast, however: “Back brave, unique artistry and then be patient with it.” The 38-year-old continues, “some of the most rewarding things I’ve been involved with have taken time. Patience and conviction are massively important in this job.” Up next? English Teacher’s follow-up to Mercury Prize-winning debut LP This Could Be Texas and the rise of Irish trad-folk group Madra Salach.
Jamie Herron
Campaign manager, frontline recordings U.K., BMG
In 2021, Herron joined the team at BMG as an apprentice with no music industry experience. His willingness to take on new challenges has seen him go on to earn several promotions in the intervening years, but he says the biggest lesson has been learning to trust his expertise. “Something that I have learned, and which I still need to remind myself of now, is that my voice has value,” he says. That burgeoning confidence and leadership mindset has translated into some pivotal success, including last year’s campaign for MARINA’s Princess of Power, her first LP to be released independently and distributed through BMG. “We doubled the first-week sales of her last album, and were able to surpass a lot of expectations too,” Herron proudly says.
Olivia Hobbs
Founding & managing director, Blackstar Agency
With an artist roster including Hayley Williams, Arlo Parks and Nine Inch Nails, and clients spanning Sony Music, Domino Records, The Orchard and AWAL, Blackstar Agency has grown to become one of the U.K.’s leading independent music marketing agencies. Its rise is down to expanding operations “sustainably while protecting the values and creative ambition the agency was built on.” Those principles extend to how she thinks about the industry more broadly, particularly its responsibility to the next generation. “We need to recognize that talent does not always present itself in a conventional way,” Hobbs says. “Creating space for different backgrounds, working styles and neurodivergence will produce a stronger and more imaginative industry, so it shouldn’t just be a one-off campaign or a footnote.”
Adem Holness
Head of music, SXSW London
Since launching SXSW London from “ground zero,” Holness has helped establish the culture and tech event as a new platform for emerging talent and industry leaders, welcoming more than 30,000 people to each edition. He’s particularly proud of creating a space where artists can “take risks,” with Erykah Badu and Sega Bodega among those premiering new music at the event. “Find the people pushing creativity forward, whether that’s artists breaking new ground or people experimenting with emerging technology, and bring them together and help create something new,” he says. “That’s where you make moments that genuinely create a sense of awe and wonder for audiences.”
Will Hunt
Senior vp of A&R, AWAL
“Part of A&R is about training your ears and your brain to take on more and more information about whether to sign or not to sign an artist,” explains Hunt. “But once you’ve seen or heard enough to feel excited about their potential, don’t hesitate.” The approach has paid off, with the 38-year-old’s signings delivering in excess of 10 billion streams for AWAL since he joined the label in 2018. A key part of that success has included Irish country-pop star CMAT, who won the best album prize at the 2026 Ivor Novello awards and earned Mercury Prize and BRIT Award nominations for career-best LP Euro-Country. Hunt is now looking forward to developing Chimes, a new label in partnership with AWAL, focusing on supporting young, emerging artists and giving them resources to develop sustainable careers.
Darcey Jackson
Director of talent, AEG Presents European Festivals
Packing out Pitbull’s performance at AEG’s BST Hyde Park with 70,000 bald cap-wearing fans “was one of the greatest days of my life, both professionally and personally,” Jackson says. “Smashing a Guinness World Record as well as the BST Hyde Park ticket record in one day will be a hard one to beat,” she says of the initiative, which garnered international media coverage. The ongoing success of All Points East at London’s Victoria Park, headlined by Tyler, the Creator, Deftones and more in 2026, is also an event that Jackson also takes great pride in. She adds: “The opportunity every year to leave a positive cultural footprint in the city is such an honour.”
Emily Jeffrey
Creative director, Polydor Label Group
The Rolling Stones released their 15th U.K. No. 1 album Foreign Tongues in July with a typically brash creative energy. The LP’s artwork – which featured a cartoonish composite of Mick Jagger, Keith Richards and Ronnie Woods’ faces – and the video for “In the Stars” is proof that the rockers’ penchant for provocation is yet to fade. “I’m really proud that we backed work that was thought-provoking,” says Jeffrey, a key player in the creative for the project. “I think creativity should have a point of view first and foremost. It doesn’t need to be universally liked, but it should prompt a reaction and say something which I really felt this cover did.”
Ra’ed Khan
Director of growth, Warner Music U.K.
It’s been a standout year for Khan and his colleagues on WMG’s U.K. revenue & growth team, who “drove [their] U.K. digital market share to new peaks.” Innovative endeavors have seen collaborations between Meta and Atlantic Records for Ed Sheeran’s global-first WhatsApp campaign, turbocharging Alex Warren’s “Ordinary” during its 13-week stay at No. 1 on the Official Singles Chart, and launching The Warehouse, which plugs the team’s roster into platforms such as Reddit and Stationhead. “It’s amazing to see what happens when brilliant label ideation is backed by a sharp digital strategy,” Khan says. “We’re building some genuinely innovative campaigns right now, and it’s a privilege to work across such a diverse roster.”
Daniel Lang
Senior vp, global society relations & digital rights, Warner Chappell Music
Lang’s role includes maximizing value and delivering “the best outcomes for our songwriters” in the Warner Chappell Music catalogue. Strengthening the companies relationships with “like-minded societies” on a global level and leading and contributing to “a number of significant DSP negotiations as the market continues to evolve” keeps him on his toes. “It’s an area I’ve worked in for a long time, but it never really stands still, which is probably why I still find it so interesting,” he adds. Now, he wants to pay it forward and bring new perspectives into decision-making processes. “I think it’s extremely important to give young people a voice, and meaningful opportunities to use it, early on in their careers,” Lang concludes.
Bonita McKinney
Head of business development, Europe, Virgin Music Group
In the past year, McKinney played a role in expanding Virgin Music Group’s U.K. business with a genre-spanning roster of label partners including Earache, Chess Club and Killabop, and artists such as Of Monsters & Men and Leigh-Anne. McKinney, 37, also brought together business development talent from across VMG’s expanded businesses following the completed merger with FUGA and Downtown, with a goal of building “a trusted group of peers to riff with, challenge your thinking and learn from.” With an expanded suite of tools, more label partnerships are on the horizon, she says, as well as revelling in the “pretty special feeling” of releasing new LPs from Interpol, Bloc Party, Kings of Leon and Bad Omens.
Billy Millar
Senior vp, sync & creative, Bella Figura Music
Producer Paul Epworth (Rihanna, Adele), Jonny Pierce of The Drums and rock band Whiskey Myers are among the key additions to the Bella Figura Music roster over the past year. For Millar, 36, the opportunity to work with songwriters “of this calibre is such a privilege.” He continues: “These are songwriters who’ve each helped define their genre and being part of a team trusted to carry that legacy forward is something I don’t take for granted.” The signings support Bella Figura Music’s presence on both sides of the Atlantic, with teams in London and Los Angeles. With all resources going towards “a continued push in the U.S.,” Millar notes that “it’s such an exciting time for us – we’re a fast-growing, young company. It really does feel like the start of our next chapter. I’m looking forward to being part of shaping what that looks like.”
Carlene Morlese
Artist relations, U.K. lead, Apple Music
The newly opened Apple Music Hall in Battersea is “a space designed with the artist at the heart, giving them a platform to create unforgettable, intimate live experiences and so much more,” says Morlese, 39, who has worked for the streaming platform for the past five years. She is looking forward to building “bespoke shows” at the venue, which boasts a 38-foot-wide stage and a 48-speaker sound system, and also operates as a production facility. During her tenure with Apple Music, the Londoner, 39, has also honed the creative direction of Elton John’s Rocket Hour radio show while working closely with the icon himself, alongside delivering ambitious Black History Month and Pride campaigns across the platform. “Authentic connections have been the foundation of my most impactful campaigns and activations,” she adds.
Andy Nees
Partner & agent, WME
In the 16 years that he has spent with WME Music Central, Nees has worked his way up towards becoming a partner within the agency and representing a diverse roster of acts that spans Empire Of The Sun, Stormzy, Ashnikko, Blood Orange, The Hu and beyond. The 39-year-old has played a pivotal role in the growth of WME’s U.K. music division, thanks in part to his collaborative approach to relationship-building with premier venues, festivals and artist managers across the world. Nees’ most valuable career lesson has been seeing how “marginal daily improvement over a consistent period of time results in massive growth in the long run. Small, steady effort compounds in ways that feel invisible day to day but become undeniable over years.” He affirms: “Loving the challenge is as important as loving the result.”
Mitch Page
Head of indies & label relations, Amazon Music U.K.
As the inaugural chair of the ERA Future Leaders board, which fosters mentorship and networking opportunities for younger music industry talent, Page, 31, is finding new ways to “build bridges and celebrate voices across regions, sectors, and every corner of the industry.” The Amazon Music U.K. executive knows the importance of opening doors for the next generation firsthand, having cut his teeth at Manchester indie label Scruff of the Neck in his early 20s, before going on to lead high-profile streaming partnerships, including the blockbuster Oasis Live ’25 campaign, and Breakthrough Lab, Amazon Music’s program for emerging acts. “I’d like to see the industry learning and governing with young people, not just consulting them once the decisions are made,” he adds.
Matt Pickering-Copley
Music booking agent, Primary Talent International
After realising that Ethel Cain’s ongoing momentum around her 2022 LP Preacher’s Daughter meant it was “the time to let it rip,” Pickering-Copley took a big swing with the alternative singer-songwriter’s U.K. touring plans last year, booking five nights at London’s 5,000-capacity Eventim Apollo across a week in October. Each night sold out as it went on sale, turning the run into the flagship moment of the campaign and taking Cain’s touring business “to a whole other level.” The 35-year-old has also landed major U.K. festival placements for other independent clients Mitski and Men I Trust, and is currently building the live portfolios of Underscores and Frost Children.
Rob Ronaldson
President & founder, Robots + Humans
As the founder of Robots + Humans, a Sony Music U.K. imprint that focuses on breaking emerging artists using technology-driven insights, Ronaldson has learned that “it’s important to give people enough time to do great things.” Over the past year, he’s helped Dublin producer F3miii break through globally with “Noble,” alongside supporting viral indie band Daydreamers throughout its debut album campaign. He’s also overseeing the release of Wretch 32’s legendary “Fire in the Booth” – which saw the rapper freestyle live over The xx’s “Intro” live on BBC Radio 1Xtra in 2015 – after the sample recently got cleared, describing it as “an iconic piece of U.K. rap history.”
Brooke Salisbury
Senior vp (international marketing & digital), Sony Music U.K.
Salisbury has continued to reshape Sony Music U.K.’s international marketing functions, helping drive global success for Myles Smith, Bring Me the Horizon and Central Cee, while supporting Wolf Alice’s first album with the label, The Clearing. She credits SMG U.K.’s CEO Jason Iley and COO Azi Eftekhari for encouraging her to “flourish as a leader,” adding that she wants to help mentor the next generation of executives. “If you’re willing to become a true expert in your lane and you keep on showing up for your artists, you’re going to make a big impact,” she says. “There’s so much space at the table for people who want to make a difference.”
Marc Saunders
Head of Programming, The O2
A mission for Saunders, head of programming at London’s 20,000-capacity O2 Arena, is to remain inquisitive and to “open your mind to genres outside of your comfort zone.” As such, the live venue has recently hosted concerts from a swathe of genres from “South Asian and Cantopop, to Afrobeat and K-Pop” and global superstars such as Rosalía, TWICE, Katseye; in August, the venue also hosted a 10-night residency by Ariana Grande, her only European performances on the Eternal Sunshine tour. 2027 brings a “milestone” 20th anniversary celebration for the venue, and the 34-year-old and his team are “programming an extensive roster of high-profile and diverse shows” to celebrate the moment.
Nichal Sethi
Managing director, SoundOn EMEA, TikTok
SoundOn’s EMEA operation enjoyed a run of frontline success in the past twelve months, with its artists landing seven placings on both the U.K. Official Singles Chart and Germany’s Top 100 Singles charts, as well as five spots across Billboard charts. Among the projects Sethi, 37, is most proud of is Aitch’s “RMB (Ring My Bell),” which SoundOn signed directly through its A&R team, before supporting the record with promotion and marketing that helped turn it into a global success. For Sethi, who has spent 15 years in the industry, cultivating the relationships behind those results is paramount: “It comes down to being a good person and someone that artists can genuinely trust,” he says.
Holly Shaw
Head of international marketing, Universal Music Group U.K.
Shaw, who leads international marketing at UMG U.K., has had a full-throttle 12 months. The 32-year-old was instrumental in the marketing campaign for Olivia Dean’s The Art of Loving and points to the star’s performances on SNL in the U.S. and at the ARIA Awards in Australia as two of her biggest wins; Holly Humberstone, too, has also worked to boost her international presence in Europe and North America. The key to delivering across markets and with her international colleagues? Don’t panic. “At times it can get incredibly hectic and busy” she says. “But I’ve found if you ask, there is always someone who will offer their expertise and help ease the load.”
Pete Simmons
Head of A&R, Universal Music Publishing Group
Reinvigorating UMPG’s roster has been the defining achievement of Simmons’ past year, bringing in Zach Nahome (Olivia Dean), Shift K3Y (Becky Hill, Tinie Tempah), and solo act-turned-songwriter Willow Kayne, who is starting a new writing lane in K-Pop. “The best part is that they all work together and share opportunities – they have this brilliant community around them. It’s refreshing, and deeply inspiring,” the 33-year-old says of these songwriters and producers. For Simmons, his role is “really quite simple” and ultimately comes down to one thing: being useful. “Whether that’s finding songs, sessions, collaborators or even occasionally restaurants, through providing access, insight and expertise, your value is in how useful you are,” he says.
Guv Singh
CEO, Catalyst Management
Catalyst Management founder Singh, 36, expanded his remit over the past year, becoming senior cultural advisor to Robert Lavia, the CEO of UMusic Hospitality & Lifestyle (UMHL); the team is now gearing up to launch UMHL’s latest project, an ultra-premium hotel and beach club in Tulum. On the music side, Catalyst-signed producer Tru Skool produced “Morni” by Punjabi superstar Diljit Dosanjh, while Steel Banglez collaborated with Burna Boy on recent track “Birthday.” Elsewhere, Singh is continuing to shape Breaking Borders, his music festival in Malta that champions South Asian creatives and musicians. “Stay true to your own vision,” Singh says to his fellow rising executives. “Outside noise and opinions can distract you and throw you off track.”
Emma Tivnen
A&R director, Kobalt
Tivnen had a front-row seat to one of British music’s biggest breakouts, working closely with Kobalt-signed Max Wolfgang, a key collaborator of Olivia Dean; Wolfgang has songwriting and production credits throughout her The Art of Loving LP, and on Dean’s contribution to “Rein Me In,” a record-busting collaboration with Sam Fender. Elsewhere the 35-year-old continued her work with Barry Can’t Swim, whose forthcoming third album – set to be released by Atlantic – she describes as a career-high. Even as technology rapidly reshapes the business, Tivnen says that nurturing relationships with clients remains at the heart of A&R. “Despite the switch to data, and AI, the music industry is still very much a people business,” she says. “Especially in A&R: people sign to people.”
Cindy Truong
Senior awards manager, The Ivors Academy
Truong helped to lead operations across delivering the 71st Ivor Novello Awards earlier this year, which featured appearances from Elton John, Harry Styles, Rosalía, Thom Yorke, and more. Her work at The Ivors Academy has also centered on advocating for composers, from participating in industry dates on AI and supporting new BBC commissioning guidelines for media composers to making the case for Basic Income for the Arts internationally. “Through my work at The Ivors Academy, I’ve seen first-hand the value of protecting, empowering and celebrating a community,” the 38-year-old explains. “Applying this approach more widely across the music industry could give young people better access to opportunities, mentors, practical knowledge and guidance they need to turn their passion into a sustainable career.”
Chloé van Bergen
Vp operations, U.K. & Europe, Secretly Group
The operational engine behind Secretly Group’s U.K. and European business is led by van Bergen, 36, who spearheaded the building of in-house systems that were designed to help the independent music company move quickly through increasingly complex supply chains. That infrastructure was put to the test in August, when Phoebe Bridgers’ Lost Weekend debuted at No. 1 on the Official Albums Chart, following an operation spanning half a million physical units manufactured worldwide, U.K. retail coordination and large-scale fan activations; the LP was Secretly Group’s first chart-topper in the U.K. “Chart weeks like this are lost at the supply chain far more often than at marketing,” van Bergen says. “Our team delivered on both.”
Jeremy Vuernick
Executive vp, Atlantic Music Group
One of Vuernick’s guiding principles is to be “more than an email” and build “meaningful and lasting relationships that are not transactional.” The current landscape should encourage his peers to “be present and figure out ways to add value and not just identify a problem. Make it your business to be the person who can turn a ‘no’ into a ‘yes.’” It’s an approach that has served him well as Atlantic Music Group continues to sign and develop homegrown talent such as Mulaa Joans, Erin LeCount, Barry Can’t Swim, and rising artist Sofia and the Antoinettes, who he describes as “such an important storyteller.” Vuernick concludes: “We feel more confident than ever that the state of the U.K. business is strong.”
Oliver Ward
Agent, United Talent Agency
British pop stalwarts Take That have had a blockbuster year, with Ward working across the release of the group’s acclaimed Netflix documentary and a “life-affirming” reboot of their iconic The Circus Live tour, which tallied up 17 nights at U.K. and Irish stadiums over the summer. “Treat everyone you work with like they are part of the same team. Enthusiasm and positive energy go a long way,” says the 39-year-old, whose year has also included the announcement of a 2027 European tour for Take That, spanning 35 new dates. Among his other priorities is TOMORA, the collaborative project between The Chemical Brothers’ Tom Rowlands and AURORA — whose live show, in Ward’s words, is “a heady mix of the electronic energy, warmth and ritual; all to the backdrop of bombastic visuals.”
Adam Wood
Manager (Yungblud), Special Projects
In the past year, Yungblud has earned two No. 1s on the U.K.’s Official Albums Chart and scooped up his first-ever Grammy for best rock performance (for his cover of Black Sabbath’s “Changes” at Ozzy Osbourne’s Back to the Beginning farewell concert). For Wood, a key player of Yungblud’s management team, he’s most proud of a more intimate affair: launching the B.R.A.T. store on Denmark Street in Soho, London. “We wanted a space where a community that is constantly connected online, could come together in the real world,” Wood says of the space, which features wares from Yungblud’s fashion line and hosts regular events. “When an idea comes to life in the exact way you envisioned it to, and is received, used and appreciated by fans in the way you intended, it’s always very special to watch.”
Asmaria Zerabruk
General manager, Young Recordings
As the newly-appointed general manager of Young Recordings, Zerabruk works across a roster spanning the likes of The xx, Sampha, Jamie xx and Kamasi Washington, alongside newer talent such as 1000 Rabbits and Murex. Over the past year, she has brought Erykah Badu and The Alchemist to the label and led Robyn’s Sexistential campaign, which included the veteran Swedish pop star’s first arena dates alongside a Harry Styles support slot. The success of the latter, which has seen Zerabruk support “a pop icon reimagining her sound” in bagging a U.K. top 10 album, has been “testament to what our team can build when we approach each artist’s ambitions on their own terms,” she says.
