The UK’s audio music streaming surged past 210 billion in 2025, but the momentum is waning.

The recorded music trade group BPI has released its annual report, revealing that the UK achieved over 210 billion audio music streams in 2025. This marks a significant milestone, with a growth of 5.5% year-on-year, translating to 210.3 billion streams. However, the increase in volume represents a slowdown compared to previous years, with 10.7 billion more streams than the 199.6 billion recorded in 2024.

In contrast to 2024’s audio streaming growth of 11.0%, the recent figure reflects a general deceleration across the industry, with year-on-year growth dropping from 9.7% in 2024 and 12.8% in 2023. Streaming now accounts for an impressive 89.3% of all music consumption in the UK, a percentage derived from the BPI’s concept of ‘Album Equivalent Sales.’ This calculation equates one album sale to 1,000 streams from a premium service or 6,000 from a free service.

Physical music sales also experienced a slight growth, climbing 1.4%, with vinyl records leading the charge. Vinyl sales rose 13.3% year-on-year, reaching 7.6 million units, marking the 18th consecutive year of growth for this format. In contrast, CD sales fell by 7.6%, totaling 9.7 million units sold.

Neil Gibbons, COO of Key Production Group, noted the sustained demand for vinyl, stating that the core audience is evolving beyond just Gen Z, as listeners increasingly engage with full albums and seek various formats to collect. Interestingly, six of the ten best-selling vinyl albums in 2025 were released within the last two years, with Taylor Swift’s ‘The Life of a Showgirl’ topping the list, selling over 147,000 units—the highest number in sales recorded since 1994.

Despite the record-breaking consumption figures, the pace of growth is noticeably slower than in prior years. For example, the streaming growth rate of 5.5% in 2025 is less than half that of 2024’s 11%. The BPI noted that while 2025 was a landmark year for recorded music, the slowing growth underscores evolving market dynamics.

New British talent is gaining traction, with artists like Lola Young and Olivia Dean making notable impacts. Dean recently became the first female artist to secure both a No. 1 album and single simultaneously in UK chart history. The BPI report highlighted that 2025 was another strong year for female artists, including Taylor Swift, who achieved unprecedented success by securing the biggest album in the UK for two consecutive years with different releases.

As the BPI celebrates the accomplishments of UK artists, it acknowledges the pressures faced by the market, particularly as the global share of English-language music streaming continues to decline. Dr. Jo Twist OBE, BPI Chief Executive, emphasized the need for government support and robust copyright protections to ensure the UK music industry’s future success as it navigates an increasingly competitive global market.

Italy’s making a bold move to revitalize its music scene with a new funding initiative. This isn’t just another program; it’s a game changer for local artists and the industry.

The Italian government has officially approved a significant fund aimed at supporting the national music industry, marking a defining moment for artists and stakeholders alike. This funding, described as ‘historic’ by industry insiders, will provide much-needed financial assistance to musicians, producers, and music venues across the country.

With an allocation of several million euros, the fund is designed to help nurture talent, promote local music, and stimulate economic growth within the sector. The initiative comes in response to the challenges faced by the music industry due to the COVID-19 pandemic, which severely impacted live performances, recording sessions, and overall revenue for artists.

Italian Minister of Culture, Gennaro Sangiuliano, emphasized the importance of this initiative, stating that it aims to create opportunities for emerging artists and strengthen the cultural fabric of the nation. “Our music is a vital part of our identity, and we need to invest in its future,” Sangiuliano noted during the announcement.

The fund will support various projects, including grants for recording and production, promotional campaigns for local artists, and subsidies for live events. Venues that have struggled to stay afloat during the pandemic will also benefit from financial aid. This broad approach not only aims to bolster the commercial aspects of the industry but also seeks to foster a sense of community among artists and audiences.

In addition to direct financial assistance, the initiative includes educational programs designed to equip the next generation of music professionals with the skills they need to thrive. Workshops, mentorships, and partnerships with music schools are part of the strategy to ensure a sustainable future for the industry.

This funding marks a turning point for the Italian music scene, positioning the country to recover from past setbacks while paving the way for creative growth. As excitement builds among artists and industry professionals, many are optimistic that this initiative could lead to a renaissance in Italy’s rich musical heritage.

Music’s evolving fast; expect a blend of AI, fan engagement, and artistry in 2026.

The music industry is on the verge of another transformative era as it steps into 2026, following a year of unprecedented changes. In 2025, we witnessed AI-generated artists rise to the top of streaming charts and a thawing of tensions between AI and traditional music companies. As we look ahead, several key trends are anticipated to shape the upcoming year.

One significant shift is how policy and regulation have struggled to keep pace with technological advancements. While AI’s integration into music raises critical questions about artists’ rights and originality, the industry cannot afford to wait for formal regulations to dictate its direction. There’s a growing need for stakeholders within music and technology to forge their own agreements, ensuring that the incorporation of AI is beneficial to all, including artists, labels, tech firms, and fans.

As of 2025, legal actions and partnerships have begun to define the boundaries between legacy labels and AI companies. Looking ahead to 2026, it’s expected that stakeholders will take the reins in outlining the rules for AI engagement, emphasizing the need to maintain artistic integrity while fostering collaboration across the board.

Many artists have expressed concern about the potential for AI to undermine their creative contributions. However, there’s a silver lining as more musicians begin to harness AI’s capabilities to enhance their reach and revenue without sacrificing their artistic essence. Tools like Adapt and Studio, introduced earlier this year, illustrate how AI can help artists broaden the utility of their music, allowing for adaptations that suit various content needs.

Moreover, the relationship between artists and fans is set to evolve dramatically. The traditional roles are becoming blurred as fans seek deeper engagement and involvement in the music creation process. This shift will likely transform music from a passive listening experience into an active, participatory one, where fans are co-creators.

As artists start to embrace this collaborative spirit, it’s anticipated that new genres and artistic expressions will emerge, driven by the hybrid identities of individuals who blur the lines between fan, artist, and content creator.

We are entering a post-format era where music is no longer confined to traditional structures like albums or playlists. Instead, it’s evolving into a fluid narrative that transcends platforms, allowing discoverability through diverse avenues, including gaming and live events. This diversification brings both exciting possibilities and new challenges in terms of licensing and ethical concerns regarding AI usage.

Concerns regarding the legal and ethical implications of AI in creative industries are on the rise. As AI becomes more integrated into music workflows, the emphasis on trust and transparency will be crucial. Companies must establish clear data practices or risk facing legal complications and reputational damage.

As we move forward, the music industry stands at a pivotal point of transformation. With AI presenting new opportunities for artists and brands alike, it’s essential that the focus remains on transparency, creativity, and the human touch that defines music at its core.

So, MIDiA’s latest Spotify Wrapped analysis reveals some eye-opening trends about listener behavior and artist engagement. This year’s findings underscore how the music industry continues to evolve.

As the holiday season unfolds, music lovers are once again embracing their Spotify Wrapped results, and MIDiA Research has stepped in to examine the data more closely. For the third consecutive year, they’ve compiled insights from their staff members to shed light on current trends within the music industry.

It’s essential to note that the MIDiA team consists of industry experts, not typical consumers, which can skew the findings. Their sample size includes 13 staff members, plus four additional friends and family to broaden the data pool. Despite its modest size, the analysis has often echoed broader industry patterns.

One significant takeaway from this year’s Wrapped is that among nine staff members who shared their data for both 2024 and 2025, all but one experienced a decline in total listening time, averaging a drop of 25.1%. A common theme emerged: many indicated a shift in their music consumption towards YouTube, particularly enjoying DJ sets, suggesting that competition for listener attention is intensifying.

Another intriguing statistic reveals that, on average, participants dedicated only 4.2% of their listening time to their top artist. This translates to listening to an astounding 2,728 songs from 1,488 different artists throughout the year. This statistic raises questions about the focus on superfans by rightsholders, who typically drive concert ticket sales and merchandise revenue, yet contribute little to total streaming shares.

Interestingly, the average top song in the sample received just 55 listens over the year, which amounts to a mere 0.4% of total music streaming time if we consider the average song length. This highlights the paradox facing artists today—while it’s easier to get a track listened to initially, securing ongoing engagement proves to be more challenging than ever.

Moreover, the average “top” album received only 642 minutes of listening time, accounting for just 1.7% of total annual listening. While this might emphasize the dominance of singles in the streaming era, MIDiA staff still engaged with a variety of albums, averaging 2.3 per month. Some even reported a decrease in Spotify usage as they turned to vinyl records for their music fix.

The contrast between music and podcast listening was also notable. Staff members logged an average of 1,042 minutes listening to podcasts—merely 2.8% of their music listening time of 37,229 minutes. This discrepancy is telling; music easily fits into daily routines, suggesting why it remains a more popular choice for everyday listening compared to podcasts.

Despite this, podcasts are siphoning off potential music streaming time. With Spotify’s premium subscriber count, the accumulated podcast listening could translate into an astounding amount of music time lost. Furthermore, as podcasts vie for both streams and advertising revenue with music platforms, the competitive atmosphere continues to heat up.

The Wrapped results also revealed a concept of ‘listening age,’ indicating the age users would be if they only listened to music popular during their formative years. Most participants had a listening age that exceeded their actual age, with some Gen Z and millennials scoring as high as their 70s or 80s. This trend indicates that the relevance of new releases is diminishing; music is considered ‘new’ as long as it’s fresh to the listener.

As MIDiA provides more insights into this year’s Wrapped, their analysis not only reflects individual listening habits but also critiques the broader state of the music industry. From staff favorites like “Same Day Cleaning” by Sammy Virji and “West End Girl” by Lily Allen to listening trends that raise pivotal questions about artist engagement, the findings are essential for anyone invested in the music scene’s future.

AI’s making waves in China’s music scene; over half of new indie songs are AI-generated.

Deezer has been tracking the rise of AI-generated music, revealing that last November, 34% of all uploads to its platform were produced by artificial intelligence. Now, China is reporting a significant surge in this trend, particularly within its independent music sector.

A recent article by People’s Daily, a state-owned media outlet, highlighted that AI-generated music constituted 56.9% of all new independent tracks released in China during the first quarter of 2025. This statistic marks a notable shift in how music is created and consumed in the country.

Unlike the concerns raised in Western media regarding the implications of AI in music, the narrative in China takes a more optimistic tone. The People’s Daily article emphasizes the potential benefits of AI for the local music industry, suggesting that it opens up new creative horizons rather than presenting a crisis.

Among the developments, Tencent Music’s GenAI music tool has gained significant traction, with over 10 million users. This platform has generated more than 26 million tracks, which have collectively garnered over 1 billion streams. The sheer volume of AI-generated music suggests an evolving approach to music production that could redefine the industry.

While concerns about the authenticity and originality of AI music persist in the West, the Chinese perspective highlights collaboration between technology and artistry. This approach could signal a broader acceptance of AI as a valuable tool for musicians, rather than a threat to traditional music-making processes.

As the landscape of the music industry continues to shift, the integration of AI in both production and distribution could lead to significant changes in how artists engage with their audiences. It’s evident that the rise of AI-generated music is reshaping the independent music scene in China, with authorities viewing it as an evolution rather than an obstacle.

The buzz in the U.K. music biz is electric as 2026 kicks off, with fresh talent rising and industry shifts on the horizon.

The U.K. music industry, known for its slow post-holiday ramp-up, seems ready to hit the ground running in 2026. After a promising 2025, where the recorded music market grew by 5%, optimism is high. The year ahead is expected to be a significant one, with many in the industry feeling a resurgence that some had previously deemed unlikely.

Notably, the end-of-year report from the BPI highlighted major successes, including the high-profile reunion tour of Oasis and Taylor Swift’s The Life of a Showgirl, paving the way for a new wave of artists to carve their niches. Emerging talents like Olivia Dean, Lola Young, Sam Fender, and Yungblud took creative risks in 2025, yielding both critical acclaim and commercial success.

Culturally, 2026 is set to be a transformative year. Charli XCX is gearing up to release her first full album since brat, featuring music tied to Emerald Fennell’s adaptation of Wuthering Heights. Olivia Dean is looking to capitalize on her rising fame with a worldwide tour, while RAYE, who recently secured the first No. 1 single of the year, is preparing her second album. Additionally, rumors are circulating about Harry Styles’ anticipated return to the music scene, alongside Lily Allen’s re-emergence in live performances.

However, 2026 may also bring challenges. The Labour government is pushing forward with ticket resale reforms and aims to support grassroots venues. Meanwhile, the industry continues to grapple with the implications of artificial intelligence in music production, a topic expected to dominate conversations in the coming year. The BRIT Awards will also make history by moving to Manchester’s Co-op Live arena, marking a significant shift in the event’s location.

As for Oasis, their future remains uncertain after a successful reunion tour in 2025. Speculation about potential shows at Knebworth House on the 30th anniversary of their iconic performances lingers. Liam Gallagher has hinted at upcoming concerts but has not confirmed any plans yet. A documentary about the Gallagher brothers’ journey is set to release in 2026, keeping the band’s legacy alive in the public eye.

The last year saw a significant emergence of fresh talent in British and Irish music, with Olivia Dean and Central Cee achieving new heights. Artists like EsDeeKid and Skye Newman are also anticipated to shine in 2026, showcasing the depth of talent in the U.K. However, summer 2026’s concert schedule appears less packed than in previous years, raising questions about who will fill the gaps left by major acts.

Meanwhile, the grassroots music scene received attention in 2025, with big names like Coldplay and Sam Fender donating to support local venues. The Labour government is facing criticism and pressure to enforce a ticket levy to protect these spaces from economic challenges. It remains to be seen how effective these measures will be in fostering a healthy environment for small venues.

This year, Glastonbury Festival will take a fallow year, allowing rival festivals like Reading & Leeds and BST Hyde Park to step into the spotlight. These events will offer diverse lineups, providing valuable opportunities for engaging with fans and building lasting artist connections.

At the upcoming Grammys, U.K. artists are poised to make a splash, with Olivia Dean and Lola Young competing for Best New Artist, among various genre nominations for Yungblud and others. A successful showing could further motivate the U.K. music scene, showcasing the talent of both major labels and indie acts alike.

In a move to protect fans from ticket touts, legislation has been passed to cap resale ticket prices, set to take effect in 2026. While some resale platforms like Viagogo claim this will harm consumers, many in the industry view this as a positive step towards fairer pricing for fans. The true impact of these changes will become clearer once major ticket sales resume.

Drake’s in hot water with a new RICO lawsuit claiming he’s rigged his streaming numbers through an online casino. This one could shake up the industry.

Drake is under legal scrutiny as a lawsuit has been filed against him concerning allegations of manipulating music streaming through the online gambling platform, Stake.us. The lawsuit, submitted on December 31, 2025, by the Impresa Legal Group, represents plaintiffs LaShawnna Ridley and Tiffany Hines, both users of the Stake platform.

The complaint accuses Drake, along with fellow streamer Adin Ross, George Nguyen, and the company operating Stake, of utilizing the platform’s tipping feature to disguise payments to bot operators. These operators, as alleged, were responsible for generating artificial streams for Drake’s music on major platforms like Spotify.

According to the lawsuit, “At the heart of the scheme, Drake – acting directly and through willing and knowledgeable co-conspirators – has deployed automated bots and streaming farms to artificially inflate play counts of his music across major platforms, such as Spotify.” This manipulation, it is claimed, misleads royalty systems, distorts music charts, and diverts attention from genuine artists.

The lawsuit points out that Drake has publicly stated he receives around $100 million a year to promote Stake. Stake’s website boasts of its partnership with Drake, indicating that he’s a valued member of its VIP program.

In addition, the filing claims that Drake used his connection with Stake to funnel funds through the platform, subsequently inflating his streaming numbers. George Nguyen, who is noted in online platforms as “Grand Wizard,” is identified in the lawsuit as orchestrating the botting activities and payments masked through Stake.

There’s also a backdrop of a separate class-action lawsuit filed by rapper RBX against Spotify. That case alleges that Spotify has failed to combat widespread fraudulent streaming that has financially hurt legitimate artists. RBX specifically calls out Drake, stating that he is the most streamed artist on the service.

RBX’s lawsuit estimates that roughly 37 billion streams attributed to Drake from January 2022 to September 2025 were inauthentic, suggesting a wide network of bot accounts at play. Recent public records show financial transactions between Drake and Ross on Stake, including a $100,000 tipping transfer in 2023 and a notable $220,000 car gift from Drake to Ross just before the lawsuit was filed.

Drake’s recent announcements, including a plan to give away 10% of his gambling winnings to a fan, have also attracted attention. He tried to generate excitement on social media for the giveaway, which he promoted on his Instagram account.

The lawsuit goes further to allege that Stake misrepresents itself as a “social casino” offering a safe gambling experience, while actually functioning as an illegal gambling entity. The complaint highlights that Stake.us exploits consumers in Virginia and beyond, drawing them into real money gambling which poses serious risks, including gambling addiction.

Houston’s own Paul Wall is a Southern rap icon, turning his roots into a legendary career.

Paul Wall, born Paul Michael Slayton on March 11, 1981, in Houston, Texas, has become a prominent name in hip-hop, known for his distinctive style and engaging personality. His journey from a budding artist to a well-respected rapper is filled with cultural influences and musical innovation, all rooted in the vibrant city of Houston.

Wall’s upbringing in Houston, a city celebrated for its diverse musical heritage, played a significant role in shaping his artistic identity. Surrounded by a mix of genres, including blues, jazz, and hip-hop, Wall developed a unique sound that resonated with his audience. His early exposure to music came from various local influences, notably the work of DJ Screw, who introduced him to the “chopped and screwed” technique, a slow and rhythmic style that became a hallmark of Wall’s music.

The foundation of Wall’s career began in high school, where he met fellow artist Chamillionaire. Their collaboration on mixtapes laid the groundwork for what would become a significant partnership in the industry. This relationship helped Wall gain traction, leading to a growing fan base and opportunities to showcase his talent.

In 2005, Wall released his debut album, “The People’s Champ,” which included hit singles like “Sittin’ Sidewayz” and “They Don’t Know.” The album garnered critical acclaim and solidified his status as a leading figure in the hip-hop community. His Southern drawl and engaging delivery set him apart, making him a standout artist in an ever-evolving genre.

Throughout his career, Wall has collaborated with various prominent artists such as Mike Jones, Slim Thug, and Bun B. His partnership with Chamillionaire remains one of the most impactful, producing notable works that showcased their chemistry and musical versatility. These collaborations have had a lasting influence on Southern rap and helped redefine the genre for mainstream audiences.

Beyond music, Wall’s contributions to hip-hop culture are significant. He has popularized the “chopped and screwed” technique, bridging cultural divides and introducing new sounds to wider audiences. Wall embodies the spirit of Houston culture, representing his roots through his music and public persona. His distinctive grills, a hallmark of his image, further illustrate his connection to the city’s heritage.

In addition to his musical achievements, Wall has ventured into entrepreneurship, co-founding a successful custom grillz business with his partner Johnny Dang. This venture, along with his clothing line and record label, showcases his entrepreneurial spirit and ability to diversify his career. Wall’s business successes highlight his dedication to leveraging his brand beyond music.

Philanthropy also plays a critical role in Wall’s life. He has participated in various charitable initiatives, focusing on education and supporting underserved communities. His commitment to giving back has earned him respect and admiration among fans and peers alike.

Despite his fame, Wall remains grounded, prioritizing family life. Married since 2005, he often shares insights into his family life with fans, showing his commitment to maintaining strong personal relationships.

Currently, Paul Wall continues to release new music and collaborate with other artists, demonstrating his ability to adapt and thrive in the music industry. His ongoing projects reveal his evolution as an artist and his dedication to staying relevant in a dynamic musical landscape.

Paul Wall’s legacy is one of talent, cultural influence, and innovation. As a pioneer of Southern rap, he has made a lasting impact on the genre and continues to inspire future generations of artists. His journey from Houston to hip-hop fame is a testament to his perseverance and the power of music to connect people.

West Coast hip-hop icon DA GAIMCHNG3R is hanging up his hat after over 35 years in the game, with a final album and world tour set to mark his exit.

PALMDALE, CA, UNITED STATES, January 5, 2026 — DA GAIMCHNG3R, a legendary name in West Coast hip-hop, has officially announced his retirement from the music industry, concluding a remarkable 35-plus year journey. His final studio album, titled Last of My Kind: The Final Journey, is slated for release on February 6, 2026, and aims to encapsulate his extensive career.

As a founding member of influential groups like South Central Cartel, Havoc & Prodeje, and Murder Squad, DA GAIMCHNG3R helped pave the way for West Coast rap, becoming part of the first group from the region to sign with Def Jam Records. He comes from a musical lineage as the son of Robert ‘Squirrel’ Lester, a celebrated member of the soul group The Chi-Lites, which adds to his rich musical heritage.

This final album promises to showcase his versatility as a solo artist, featuring 13 tracks that span a range of styles and moods, from introspective tunes to high-energy anthems. The production lineup includes contributions from notable names like Mellow Mac and Hitman, as well as work by DA GAIMCHNG3R himself. To complement the album, eight music videos are already in the works, with plans to produce videos for all 13 tracks.

To support the album’s release, DA GAIMCHNG3R will kick off The Final Journey Tour in January 2026, which will include performances around the globe. With his retirement planned for the end of 2026, this album and accompanying tour serve as a significant farewell to his dedicated fan base and the culture he has so profoundly impacted.

Over the years, DA GAIMCHNG3R has evolved from a performer into a respected artist, producer, and executive. As CEO of GWK Records, he has cultivated a body of work that reflects his artistic vision and business savvy. His collaborations extend into various facets of the music industry, and he’s built a network of talented artists and professionals under GaimChng3r Entertainment.

Today, GaimChng3r Entertainment (GCE) stands as a multifaceted enterprise, extending beyond music to include film, television, and apparel. DA GAIMCHNG3R’s enduring influence and commitment to excellence continue to drive the evolution of his brand, setting the stage for a new generation of artists.

UMI’s just inked a significant deal with Excel Entertainment, marking a major move in the Indian music market.

Universal Music India (UMI) has made waves with a new partnership with Excel Entertainment, one of India’s top film and digital content studios. This agreement, valued at approximately ₹2,400 crores (around €257 million), allows UMI to acquire a 30% equity stake in Excel, enhancing UMG’s foothold in a market that ranks as the 15th largest globally in terms of recorded music revenue, according to the latest IFPI data.

Excel Entertainment, founded in 1999 by Ritesh Sidhwani and Farhan Akhtar, is not only known for its films and digital content but also has a robust history in music, particularly in musical dramas that resonate well with Indian audiences. This partnership aims to leverage Excel’s capabilities while also providing UMG with global distribution rights for all original soundtracks tied to projects from Excel.

A new dedicated music label under Excel is also on the horizon, with global distribution managed by UMG. Furthermore, Universal Music Publishing Group will act as Excel’s exclusive music publishing partner, marking a significant expansion of music collaboration between the two companies.

Devraj Sanyal, UMI’s chairman and CEO, is set to join the board of directors at Excel as part of the arrangement. He expressed enthusiasm about the partnership, emphasizing the unique opportunities within the Indian entertainment industry. “The Indian film scene presents a hugely exciting opportunity for music and the music-led entertainment business,” he noted.

In a joint statement, Sidhwani and Akhtar recognized the ongoing growth of India’s entertainment sector and underscored the importance of global collaborations. They expressed excitement about working with UMG to create a transformative alliance that opens new avenues for artists and content across multiple platforms.

Vishal Ramchandani, CEO of Excel Entertainment, described the partnership as a pivotal step towards expanding creative opportunities. He highlighted that the shared vision between Excel and UMG aims to position Excel as a leading global studio that delivers original content to diverse audiences.

Adam Granite, UMG’s CEO for Africa, Middle East, and Asia, noted that this deal further solidifies UMG’s strategic importance in India’s vibrant music market. He reiterated the heart of India’s music scene lies within original soundtracks, and the collaboration with Excel allows UMG to engage deeply in the creative processes of upcoming projects.

In summary, this partnership between UMI and Excel Entertainment promises to reshape the dynamics of the Indian music and film industries, setting the stage for exciting new developments in both sectors.