{"id":2335203,"date":"2026-03-18T16:52:08","date_gmt":"2026-03-18T16:52:08","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2335203"},"modified":"2026-03-18T16:52:08","modified_gmt":"2026-03-18T16:52:08","slug":"new-report-shows-black-music-is-central-force-powering-the-uk-music-industry-by-80-per-cent-and-24-5billion","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/new-report-shows-black-music-is-central-force-powering-the-uk-music-industry-by-80-per-cent-and-24-5billion\/","title":{"rendered":"New report shows Black music is “central force powering the UK music industry” by 80 per cent and \u00a324.5billion"},"content":{"rendered":"

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A new report has revealed that Black music is a \u201ccentral force powering the UK music industry\u201d \u2013 making a commercial contribution of 80 per cent and \u00a324.5billion out of a total \u00a330billion UK market.<\/p>\n

The figures were shared in a landmark new report called \u2018Black Music Means Business: Driving Economic Growth In The UK\u2019<\/a>. It was commissioned by UK Music, initiated by the UK Music Diversity Taskforce, and is the first of its kind in Europe: measuring the unique commercial, cultural and community impact of Black Music across 30 years of recorded music (1994 to 2023).<\/p>\n

As highlighted by Ammo Talwar, Chair of the UK Music Diversity Taskforce, the aim of the report was to act as a \u201crallying cry that is a catalyst for ongoing analysis, growth, increased representation, equity and stronger collaboration\u201d, therefore \u201cbuilding confidence in Black music\u201d.<\/p>\n

One of the most powerful statistics in the report was that Black music is \u201cthe central force powering the UK music industry\u201d, and responsible for a commercial contribution of 80 per cent of the UK market (\u00a324.5billion out of a total \u00a330billion) across those 30 years.<\/p>\n

The findings shared its definition of the term \u2018Black Music\u2019, describing it as: \u201cMusic that has its roots and inspiration derived from the culture, beliefs, traditions and history of Black people and the African diaspora. Encompassing a diverse range of musical styles and practices that originated within the African diaspora, regardless of the ethnicity of the musicians creating and performing them.\u201d<\/p>\n

Credit: Black Music Means Business<\/figcaption><\/figure>\n<\/p>\n

It also shared hopes for the term to be adopted as a standard definition across industry and sectors, and described \u2018Black music genres\u2019 as \u201ccharacterised by distinct rhythmic melodies and harmonic structures that are deeply rooted in African musical traditions, and the storytelling and consciousness of Black communities globally, reflecting their historical, cultural, political and social experiences.\u201d<\/p>\n

Breaking down the figures, it reported that 29 Black British genres generated over \u00a31.24billion of the market over the past three decades, and there were 27 Core Black music genres that generated \u00a34.83billion in sales. In terms of genres originating from Black music, there were 72, which have reportedly contributed an estimated \u00a311.94billion (40 per cent) to the market.<\/p>\n

While Black music has grown significantly over the past 30 years, equity and representation for Black talent has not seen the same momentum, and the findings also highlighted a lack of support for Black music creators and executives \u2013 despite the global success and influence of artists including Little Simz<\/a>, Central Cee<\/a>, Dave<\/a>, RAYE<\/a>, Stormzy<\/a>, Sault<\/a>, Ezra Collective<\/a>, Michael Kiwanuka<\/a>, to name a few.<\/p>\n

Only 22 per cent of the workforce at senior industry levels identify as Black, Asian or minority ethnic \u2013 compared to 46 per cent of London\u2019s population. On top of that, the report also found that Black artists and professionals face disparities in contracts, pay, funding and support, including a documented 20 per cent pay gap.<\/p>\n

\u201cBlack Music has shaped the sound and global success of British music for decades, yet its true commercial value has never been fully recognised,\u201d said Paulette Long OBE, Vice Chair UK Music Diversity Taskforce.<\/p>\n

\"CREDIT:
CREDIT: Black Music Means Business<\/figcaption><\/figure>\n<\/p>\n

\u201cThis report makes clear that its contribution is undeniable. The data shows that Black Music is a central commercial driver of the UK music industry, but it also reveals a clear opportunity gap,\u201d Long added. \u201cIf we want continued growth and global competitiveness, we must invest in the infrastructure, talent, and leadership behind it. This report is both a celebration and a call to action.\u201d<\/p>\n

Tom Kiehl, Chief Executive of UK Music added that he wanted the report to \u201cnot only be a point of reference but also a basis for facilitating change and positive action through its recommendations\u201d. The company\u2019s Head Of Diversity, Eunice Obianagha, also added that the findings present an \u201copportunity to work collaboratively to help close inequities, unlock further growth, and work to ensure the UK music industry is fair and reflective of the rich diversity of the talent that powers it.\u201d<\/p>\n

After sharing that the findings prove that Black music is a \u201ccreative industries driver\u201d and a \u201cvaluable soft power asset for the UK\u201d, the study went on to recommend eight steps that will need to be taken to make the playing field more fair.<\/p>\n

These include recognition of Black music genres in schools, a portion of the government\u2019s Music Growth Package to support Black-led organisations, and more. Find the full list below.<\/p>\n

\"Legacy
Legacy \u2013 Phil Meadows. CREDIT: Jonathan Ferro\/Black Music Means Business<\/figcaption><\/figure>\n<\/p>\n

The eight steps outlined by UK Music for more balanced representation are:<\/strong><\/h3>\n
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  1. Institutional funding & co-design <\/strong>\u2013 Support performance spaces and recording studios, Black Music archives and cultural landmarks with institutional funding, co-designed with government.<\/li>\n
  2. Language & genre authenticity <\/strong>\u2013 Back the collective use and definitions of the term \u201cBlack Music\u201d.<\/li>\n
  3. Music Education review <\/strong>\u2013 Recognition of Black Music genres as a core part of school and tertiary education curricula.<\/li>\n
  4. Growth investment <\/strong>\u2013 A proportion of government\u2019s \u00a330m Music Growth Package to support Black Music genres, Black-led organisations and enterprises.<\/li>\n
  5. Export development<\/strong> \u2013 Call on the Department for Business and Trade to back Black Music internationally.<\/li>\n
  6. Inclusive community access<\/strong> \u2013 Integrate Black music into local regeneration plans.<\/li>\n
  7. Robust data collection <\/strong>\u2013 Increase investment in comprehensive, evidence-based research on Black Music.<\/li>\n
  8. Develop equitable partnerships between industry and Black Music practitioners.<\/strong><\/li>\n<\/ol>\n

    Check out the full \u2018Black Music Means Business: Driving Economic Growth In The UK\u2019 report here<\/a>.<\/p>\n

    \"CREDIT:
    CREDIT: Black Music Means Business<\/figcaption><\/figure>\n<\/p>\n

    The findings in the latest report align with those of the \u2018Being Black in the Music Industry\u2019 report<\/a> shared by Black Lives In Music in 2023<\/a>, which revealed that 86 per cent of Black musicians said there were barriers to progression in their careers.<\/p>\n

    That study also showed that 63 per cent of Black music creators had experienced direct or indirect racism in the music industry, rising to 71 per cent for racial microaggressions.<\/p>\n

    The following year, BLIM launched a new survey to tackle bullying and harassment in the music industry<\/a>, with backing from Nova Twins<\/a>, V V Brown<\/a> and more. The backing came shortly after the latter explored what it means to be \u2018Black British\u2019 on a single<\/a> from her fourth studio album, \u2018Am I British Yet?\u2019<\/p>\n<\/div>\n