{"id":218265,"date":"2024-12-03T13:03:11","date_gmt":"2024-12-03T13:03:11","guid":{"rendered":"https:\/\/www.musicbusinessworldwide.com\/?p=218265"},"modified":"2024-12-04T19:26:55","modified_gmt":"2024-12-04T19:26:55","slug":"every-time-you-think-maybe-bmg-has-run-out-of-runway-it-hasnt","status":"publish","type":"post","link":"https:\/\/www.musicbusinessworldwide.com\/every-time-you-think-maybe-bmg-has-run-out-of-runway-it-hasnt\/","title":{"rendered":"&#8216;Every time you think maybe BMG has run out of runway, it hasn&#8217;t.&#8217;"},"content":{"rendered":"<p class=\"p1\">Kylie Minogue is still only five feet tall but, in many ways, she\u2019s never been bigger.<\/p>\n<p class=\"p3\">In the six years since BMG have been releasing her music, she\u2019s had three No.1 studio albums: <i>Golden<\/i> (2018, 400,000+ global units), <i>Disco<\/i> (2020, 750,000+) and <i>Tension<\/i> (2023, 500,000 and still rising).<\/p>\n<p class=\"p3\">Last year, <i>Padam Padam<\/i> became her first Top 10 UK single in a dozen years. She won a Grammy, the BRIT Awards Global Icon gong and became a hit on TikTok, while America \u2013 where her last pre-BMG album reached the giddy heights of No.184 \u2013 is now her biggest streaming market.<\/p>\n      <div class=\"mb-advert__incontent\">      <div class=\"mb-advert mb-advert__tweeny hidden-xs hidden-ms hidden-sm\" data-loaded=\"no\" data-sizes=\"992 1200 1440\" data-name=\"628x90 Sponsor banner #5 (992+1200+1440)\" data-params=\"dfp_sponsor5_628\" id=\"dfp_sponsor5_628\"><\/div>      <div class=\"mb-advert mb-advert__banner mb-advert__banner--inline hidden-xs hidden-sm hidden-md hidden-lg\" data-loaded=\"no\" data-sizes=\"480\" data-name=\"468x60 Sponsor banner #5 (480)\" data-params=\"dfp_sponsor5_468\" id=\"dfp_sponsor5_468\"><\/div>      <div class=\"mb-advert mb-advert__mobile mb-advert__mobile--inline hidden-ms hidden-md hidden-lg\" data-loaded=\"no\" data-sizes=\"320 768\" data-name=\"300x50 Sponsor banner #5 (320+768)\" data-params=\"dfp_sponsor5_300\" id=\"dfp_sponsor5_300\"><\/div>      <\/div>      \n<p class=\"p3\"><span class=\"s1\"><strong>Alistair Norbury<\/strong> \u2013 BMG UK President, Repertoire &amp; Marketing, and a man whose penchant for flamboyant shirts masks his considered, under-the-radar approach to running a huge music company \u2013 would never take credit for such successes, of course.<\/span><\/p>\n<hr \/>\n<div class=\"mb-embed-container\"><iframe src=\"https:\/\/www.youtube.com\/embed\/p6Cnazi_Fi0?si=bMgr19Ag7JSGshXz\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<hr \/>\n<p class=\"p3\"><span class=\"s2\">\u201cThe way Jamie Nelson [BMG VP, A&amp;R, Recorded Music] and Anna Derbyshire [Senior Director \u2013 Marketing, New Recordings] work together with the artist and management has created this success,\u201d he says, modestly. <\/span><\/p>\n<p class=\"p3\"><span class=\"s2\">\u201cThe partnership with Kylie and her management team [Polly Bhowmik and Alli Main of A&amp;P Artist Management and Gemma Reilly-Hammond of Quietus] has been such a natural evolution from the start.\u201d<\/span><\/p>\n<p class=\"p3\">But it can\u2019t just be coincidence that established artists signed to BMG seem to enjoy a new lease of life they can\u2019t find elsewhere. From Rick Astley to Suede, from Dido to Blondie, and from Gary Numan to Louis Tomlinson, BMG has assisted more comebacks than Lazarus.<\/p>\n<hr \/>\n<figure id=\"attachment_218277\" class=\"wp-caption aligncenter\"><figure class=\"mbw-articlepic mbw-articlepic--center\"><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32.jpg\" target=\"_blank\" rel=\"noopener\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32-80x43.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32-80x43.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32-160x86.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32-320x173.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32-418x226.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32-648x350.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32-836x451.jpg 836w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.19.32-1296x700.jpg 1296w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><\/a><\/figure><figcaption class=\"caption wp-caption-text\">Blondie<\/figcaption><\/figure>\n<hr \/>\n<p class=\"p3\">This year alone, it has released Top 10 UK albums from resurgent artists as varied as Bruce Dickinson, Travis, Will Young, Soft Play and The Script, to name but a few, while its publishing successes include everyone from the Rolling Stones to Bring Me The Horizon, Mura Masa to Nick Cave and English Teacher to the Manic Street Preachers.<\/p>\n      <div class=\"mb-advert__incontent\">      <div class=\"mb-advert mb-advert__spu\" data-loaded=\"no\" data-name=\"300x250 Sponsor MPU #1\" data-params=\"dfp_spu1\" id=\"dfp_spu1\"><\/div>      <\/div>      \n<p class=\"p3\"><span class=\"s3\">And now, it\u2019s BMG\u2019s own turn for a bit of a reboot. Norbury was brought into the company from the management world by Hartwig Masuch (\u201cI owe my role at BMG to Hartwig\u201d), who led the new BMG from its launch in 2008 until last year, establishing the publishing-plus-records powerhouse as a formidable, artist\/songwriter-friendly thorn in the side of the majors, surging from a standing start to become the number four music company behind the big three.<\/span><\/p>\n<p class=\"p3\"><span class=\"s3\">Since taking over last year, however, new CEO Thomas Coesfeld has made sweeping changes. He switched from third-party digital distribution to go direct with the biggest DSPs, and moved BMG\u2019s physical distribution from ADA to Universal. <\/span><\/p>\n<p class=\"p3\"><span class=\"s3\">He scrapped the company\u2019s forays into films and live music to concentrate on the core business. And he made lay-offs in pursuit of the \u2018flatter structure\u2019 that has since become an industry buzz-phrase.<\/span><\/p>\n<p class=\"p3\"><span class=\"s3\">Some of those moves hurt, but they also seem to be working, with BMG\u2019s H1 figures showing growth above the market average, while also revealing the company has quietly invested <strong>\u20ac900 million<\/strong> in acquisitions since 2021.<\/span><\/p>\n<p class=\"p1\">      <div class=\"mb-advert__incontent\">      <div class=\"mb-advert mb-advert__spu\" data-loaded=\"no\" data-name=\"300x250 Sponsor MPU #2\" data-params=\"dfp_spu2\" id=\"dfp_spu2\"><\/div>      <\/div>      <\/p>\n<p class=\"p3\"><span class=\"s3\">Norbury hints there are further big moves to come, and while there have been some high-profile departures of late, his own role is expanding, as he takes on responsibility for the APAC region and, on an interim basis for now, Continental Europe. <\/span><\/p>\n<p class=\"p3\">As Norbury welcomes MBW into BMG\u2019s Paddington office for a long-awaited interview, he\u2019s clearly relishing the new responsibilities, enthusing about the wealth of talent (both artistic and executive) in those regions, as well as the improved international opportunities for UK artists. Because, like Kylie, Alistair Norbury has his sights set on new heights\u2026<\/p>\n<hr \/>\n<h6 class=\"p2\"><span class=\"s3\"><b><figure class=\"mbw-articlepic mbw-articlepic--right\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39-80x65.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39-80x65.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39-160x129.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39-320x259.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39-418x338.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39-648x524.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.21.39-836x676.jpg 836w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><\/figure>When you first signed Kylie, did you expect her to have this degree of success?<\/b><\/span><\/h6>\n<p class=\"p2\"><span class=\"s3\"><i>Padam Padam<\/i> was not envisaged. That was definitely wildest-dreams territory. But we felt the combination of Jamie Nelson and Kylie, from an A&amp;R creative perspective, would always deliver, and has always delivered, great success.<\/span><\/p>\n<blockquote>\n<p class=\"p1\"><span class=\"s1\">\u201cPadam Padam was not envisaged. That was definitely wildest dreams territory.\u201d<\/span><\/p>\n<\/blockquote>\n<p class=\"p3\"><span class=\"s3\">When you look at the tour that is now planned, the Vegas residency, the Grammy, the streaming and the artists who are leaning in\u2026<span class=\"Apple-converted-space\">\u00a0 <\/span>Jamie would say when we did <i>Golden<\/i> and were looking for features and opportunities, it was harder. Now, the collaborations and features are absolutely world class. <\/span><\/p>\n<p class=\"p3\"><span class=\"s3\">The thing Kylie\u2019s done better than any other artist is develop a career by keeping her own sense of identity. Just being at Hyde Park, seeing the range of audience and the diversity of the demographic\u2026 A live audience really gives you a sense of what\u2019s been achieved over the last six years. <\/span><\/p>\n<hr \/>\n<h6 class=\"p2\"><b>Is that something that can be done for anyone?<\/b><\/h6>\n<p class=\"p2\">In Kylie\u2019s case, it\u2019s clearly gone into a particularly stratospheric space, but if you look at some of the other examples where we have given artists on the label side the best chart result they\u2019ve had for many years, the best international results they\u2019ve had for many years \u2013 the reaction we get from artists is that this feels as good, if not better, than first time around because they\u2019re in control, they\u2019re enjoying it more and they\u2019re feeling respected.<\/p>\n<hr \/>\n<figure id=\"attachment_218278\" class=\"wp-caption aligncenter\"><figure class=\"mbw-articlepic mbw-articlepic--center\"><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48.jpg\" target=\"_blank\" rel=\"noopener\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48-80x84.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48-80x84.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48-160x169.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48-320x338.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48-418x441.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48-648x684.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/12\/Screenshot-2024-12-03-at-12.20.48-836x882.jpg 836w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><\/a><\/figure><figcaption class=\"caption wp-caption-text\">Suede<\/figcaption><\/figure>\n<hr \/>\n<p class=\"p3\">I\u2019m particularly proud of the success of Suede. We\u2019d always been Suede\u2019s music publisher and we\u2019d always wanted to be the label. So, when <i>Autofiction<\/i> came to us, we were determined to make it feel as exciting as the debut Suede record and it\u2019s so encouraging to hear Brett Anderson say from the stage that this is the best Suede album they\u2019ve ever made.<\/p>\n<hr \/>\n<h6 class=\"p2\"><b>So what\u2019s BMG\u2019s secret?<\/b><\/h6>\n<p class=\"p2\">Number one, and it sounds obvious, make a great album. In the early days of the new BMG, we were very much artist services: you delivered a record, we released it for you.<\/p>\n<p class=\"p3\">Under Korda [Marshall, former BMG SVP] and now Jamie, the A&amp;R element is very important. With all of the examples we could look at, the records are very good \u2013 but that doesn\u2019t necessarily mean they\u2019re going to be successful.<\/p>\n<p class=\"p3\">The second element, in almost every example, is they have great management. The partnership between the label and the artist manager is so integral.<\/p>\n<p class=\"p3\"><span class=\"s1\">And the third element is the excitement and determination coming from the artist themselves. If it\u2019s, \u2018We\u2019re going on tour, we should put a record out to support the tour\u2019, that\u2019s OK, but it\u2019s not being driven by the music. I\u2019ve had artists in here who\u2019ve said, \u2018This feels like the first roll of the dice\u2019, even though it\u2019s many years later.<\/span><\/p>\n<hr \/>\n<h6 class=\"p2\"><b>What BMG hasn\u2019t really done, however, is break an artist from the ground up. Does that matter?<\/b><\/h6>\n<p class=\"p2\">What\u2019s clear is that BMG UK, as a label, is Radio 2 and 6 Music. Our strategy on recorded music in the UK is to continue with the very best iconic artists, and a small, focused roster of new talent.<\/p>\n<p class=\"p3\"><span class=\"s1\">But the joy of music publishing is, we\u2019ve got English Teacher, Mura Masa, CMAT\u2026 When people say BMG don\u2019t break or develop acts, well, that\u2019s what we\u2019re doing in the music publishing space with Hugo Turquet [SVP, A&amp;R, Publishing] and Lisa Cullington [VP, Creative] under the leadership of Janet Anderson [SVP, Group Publishing Operations]. <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">That\u2019s where talent development is happening at BMG and we don\u2019t talk about that enough.<\/span><\/p>\n<p class=\"p3\">Music publishing is still two thirds of our revenue. I guess records are more visible and people are more vocal about it, but one of the things we want to do is develop something in publishing and move it onto the label. That\u2019s something you will see happening, because the alignment between the two teams is greater than ever.<\/p>\n<p class=\"p3\">And what people don\u2019t know is all the [catalogue] acquisitions we\u2019ve done that we don\u2019t talk about. With a lot of the acquisitions we\u2019ve done over the last five years, we\u2019ve agreed with the seller that they are classified.<\/p>\n<hr \/>\n<h6 class=\"p2\"><b>Is it harder to do those deals now you\u2019re up against venture capitalists? <\/b><\/h6>\n<p class=\"p2\">The problem is, we\u2019ve seen a lot of overheated deals that have inflated prices and it\u2019s very hard then to say to somebody, \u2018This is what your catalogue is worth\u2019, because they\u2019re like, \u2018Well, so-and-so got that much\u2019.<\/p>\n<p class=\"p3\">If you\u2019re selling a portion of your catalogue, but you\u2019re still going to be out there performing and releasing new music, it\u2019s important you have a company that\u2019s a proper publisher or label. We will always curate and look after your legacy better than a fund will do, because we know how to administer songs and release recordings.<\/p>\n<hr \/>\n<h6 class=\"p2\"><b>Would you like to have more acts signed for both records and publishing?<\/b><\/h6>\n<p class=\"p2\">The balance is good. What we\u2019ve never done is pressurise or make anything contingent on one or the other.<\/p>\n<p class=\"p3\">I enjoy the fact that lots of our writers are signed to other labels. Since Thomas took over, you\u2019re seeing more engagement with the industry. Our communication historically was a little bit, \u2018We\u2019re out on our own, BMG is the new music company\u2019. I always felt we were somewhat detached from the industry.<\/p>\n<blockquote><p>&#8220;<span class=\"s1\">I always felt that we were somewhat detached from the industry.\u201d<\/span><\/p><\/blockquote>\n<p class=\"p3\">Now we\u2019re shifting our physical distribution to Universal from October, going direct to digital and building our relationships with DSPs, you\u2019re starting to see people joining BMG from the majors, particularly in the US and UK; you didn\u2019t see that before.<\/p>\n<p class=\"p3\"><span class=\"s4\">The industry needs to be more collaborative. The Ivors is the best awards show because it\u2019s the publishing industry coming together, acknowledging and rewarding everybody else\u2019s success. <\/span><\/p>\n<p class=\"p3\"><span class=\"s4\">There\u2019s always a feeling in the room of collaboration. The BRITs is more competitive, you support your team. But music publishers are used to sharing songs; we share the song, so we share the success.<\/span><\/p>\n<hr \/>\n<h6 class=\"p2\"><b>How have Thomas\u2019 changes affected the way you work?<\/b><\/h6>\n<p class=\"p2\">The biggest change Thomas has made is the focus on just being a publisher and a record company. It was great to be able to make documentaries and co-produce films but, on reflection after 12 months of not doing that, this is a much better way to run a business \u2013 to be super-focused on the core business of music publishing and records.<\/p>\n<p class=\"p3\">The other big change, which perhaps hasn\u2019t been explained as well as it should have been, is the change to how we\u2019re working internationally.<\/p>\n<p class=\"p3\">We had created a large international hub in Berlin and local marketing was going via Berlin. That team was disbanded last autumn, and there was a discussion in the industry about \u2018BMG bailing out of international\u2019 \u2013 which was totally contrary to what we are doing!<\/p>\n<p class=\"p3\">Now, with UK projects being marketed in America, they\u2019re not going through a central hub, there\u2019s just direct communication from London to Los Angeles.<\/p>\n<hr \/>\n<h6 class=\"p2\"><b>Did BMG make its changes for the same reason that the majors did?<\/b><\/h6>\n<p class=\"p2\">There\u2019s definitely a cost implication. But, that aside, the real benefit is communication and [having] a management team at BMG worldwide who are all connected on a daily basis.<\/p>\n<p class=\"p3\">It doesn\u2019t surprise me that flatter structures are coming, because the music business probably got a bit bloated and what we\u2019re seeing is this recalibration.<\/p>\n<blockquote>\n<p class=\"p1\"><span class=\"s1\">\u201cThe business probably got a bit bloated and what we\u2019re seeing is a recalibration.\u201d<\/span><\/p>\n<\/blockquote>\n<p class=\"p3\">It\u2019s an industry getting ahead of itself, making sure that we\u2019re in good shape if growth does start to be not quite as anticipated. It\u2019s always better to make changes when you\u2019re doing well. There\u2019s nothing worse than changing a business when it\u2019s in crisis mode.<\/p>\n<p class=\"p3\">It\u2019s healthy, but it\u2019s also deeply sad for anyone who gets caught up in it. It\u2019s always unsettling to lose members of staff and see people go who have played a part in building businesses, but companies do morph and change and, fundamentally, this structure is a better structure than we had, and it is working and delivering results.<\/p>\n<hr \/>\n<h6 class=\"p2\"><b>Thomas has spoken about \u2018doubling down\u2019 in America. Where does that leave the rest of BMG\u2019s territories?<\/b><\/h6>\n<p class=\"p2\">Doubling down in America does not mean ignoring the rest of the world. It means there\u2019s a confidence the rest of the world is OK and also an acknowledgement that we need America to give us more repertoire for the rest of the world. So, let\u2019s have more incoming from the US.<\/p>\n<p class=\"p3\"><span class=\"s4\">We\u2019re thrilled to have the success of Lainey Wilson and Jelly Roll, two of the hottest country stars. Lainey is heading for arena-level within Europe. And for Jelly Roll, we\u2019ve partnered with Republic Records outside of America, which shows how we\u2019re leaning into working with other companies. BMG is coming in from the cold.<\/span><\/p>\n<hr \/>\n<h6 class=\"p2\"><b>Conversely, it seems to be a very tough time for British artists internationally\u2026<\/b><\/h6>\n<p class=\"p2\">If we were exclusively focused on breaking talent, it would be very difficult. But the world we\u2019re in and the artists we\u2019re working with\u2026 I look at Simple Minds; next year will be the biggest US tour they\u2019ve ever done. I look at Louis Tomlinson; his touring is going from strength to strength.<\/p>\n<p class=\"p2\">That Suede\/Manics tour began in the US. I remember going to the Brooklyn show and thinking, \u2018This is the smart way for UK acts to team up\u2019. You\u2019re getting bigger audiences at less cost and you\u2019ll see more of those package tours, they\u2019re excellent.<\/p>\n<p class=\"p3\">It is harder than it\u2019s ever been, but the lane we are in gives me confidence that we can work within the parameters of the current climate.<\/p>\n<hr \/>\n<h6 class=\"p2\"><b>Does BMG still want to take on the majors?<\/b><\/h6>\n<p class=\"p2\">One has to be realistic. Frankly, you\u2019re not going to take [them] on. We want to be competitive, but we\u2019re seeing much more of a collaborative spirit.<\/p>\n<p class=\"p3\">It should be a healthy, competitive marketplace but there are so many examples now where artists are featuring on other people\u2019s records\u2026 So many records are X featuring Y and it involves two labels, one of them is the releasing label and the other one shares in the revenues.<\/p>\n<p class=\"p3\">There\u2019s a lot more partnership coming and an artist doesn\u2019t want to hear that you don\u2019t get on with this label, because that\u2019s buggering up their plans.<\/p>\n<p class=\"p3\">When we started, we had to be disruptive and agitate. But, as an industry, we\u2019ll be stronger if we\u2019re more aligned than if we fight with each other.<\/p>\n<hr \/>\n<h6 class=\"p2\"><b>On the flip side, are you now looking over your shoulder at the likes of Believe coming up behind you?<\/b><\/h6>\n<p class=\"p2\">It\u2019s always wise to keep an eye on that, because otherwise you\u2019re asleep at the wheel.<\/p>\n<p class=\"p3\">I\u2019m confident that our global coverage, our A&amp;R strategy, our forensic marketing and the label infrastructure we\u2019ve put in place does set us apart from that area of competition. But people would have said that about BMG in 2015, so, if the appetite is there and the ambition\u2019s there, it\u2019s good to have competition and to see an industry where there are new players.<\/p>\n<p class=\"p3\">It\u2019s a great time, because there are so many options for managers and artists to decide which universe they want to play in. There are different ways now to get music to market.<\/p>\n<p class=\"p3\"><span class=\"s2\">We have a lot of songwriters releasing through Believe or The Orchard and that\u2019s great, if you can move away from thinking it\u2019s a combat sport. We want people consuming good music, because that will help all of us.<\/span><\/p>\n<hr \/>\n<h6 class=\"p2\"><b>What are your priorities over the next few years?<\/b><\/h6>\n<p class=\"p2\">To be more impactful internationally. To support the doubling down in the US, by signing the records and artists that can be meaningful in America, and moving into stadium artists.<\/p>\n<p class=\"p3\">In 2018, we were in theatres. Now we\u2019re in arenas. Our job is to demonstrate to those artists that we are a serious contender at that [stadium] level.<\/p>\n<p class=\"p3\"><span class=\"s1\">We\u2019re proud to publish Dave Rowntree from Blur \u2013 we could do a Blur album. I\u2019m proud to do the neighbouring rights for Coldplay \u2013 we could do a Coldplay record. I\u2019m proud to have worked with Bono on the <i>Peter And The Wolf<\/i> project \u2013 we could do a U2 record. I\u2019m proud to publish Matt Bellamy \u2013 we could do a Muse record. <\/span><\/p>\n<p class=\"p3\">Every time you think maybe BMG has run out of runway, it hasn\u2019t. And, because of the way the industry\u2019s going, there are more opportunities coming. This is a good time to be at BMG.<\/p>\n<hr \/>\n<p class=\"p3\"><span style=\"color: #FF7D00;\"><figure class=\"mbw-articlepic mbw-articlepic--right\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/10\/Screenshot-2024-10-01-at-13.09.47.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/10\/Screenshot-2024-10-01-at-13.09.47.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/10\/Screenshot-2024-10-01-at-13.09.47-80x106.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/10\/Screenshot-2024-10-01-at-13.09.47-80x106.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/10\/Screenshot-2024-10-01-at-13.09.47-160x211.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/10\/Screenshot-2024-10-01-at-13.09.47-320x423.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/10\/Screenshot-2024-10-01-at-13.09.47-418x552.jpg 418w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><\/figure><a class=\"link-internal\" style=\"color: #FF7D00;\" href=\"https:\/\/www.musicbusinessworldwide.com\/mbw-plus\/\" target=\"_blank\" rel=\"noopener\"><em><strong>This article originally appeared in the latest (Q3 2024) issue of MBW\u2019s premium quarterly publication, Music Business UK, which is out now.<\/strong><\/em><\/a><\/span><\/p>\n<p><span style=\"color: #FF7D00;\"><a class=\"link-internal\" style=\"color: #FF7D00;\" href=\"https:\/\/www.musicbusinessworldwide.com\/mbw-plus\/\" target=\"_blank\" rel=\"noopener\"><em><strong>MBUK is available as part of a MBW+ subscription \u2013 details through here.<\/strong><\/em><\/a><\/span><\/p>\n<p><span style=\"color: #FF7D00;\"><a class=\"link-internal\" style=\"color: #FF7D00;\" href=\"https:\/\/www.musicbusinessworldwide.com\/mbw-plus\/\" target=\"_blank\" rel=\"noopener\"><em><strong>All physical subscribers will receive a complimentary digital edition with each issue.<\/strong><\/em><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>BMG\u2019s UK boss Alistair Norbury talks Kylie and Suede, reflects on the changes made by new CEO Thomas Coesfeld, and explains how \u2018BMG is coming in from the cold\u2019\u2026<\/p>\n","protected":false},"author":29,"featured_media":218266,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8],"tags":[188],"class_list":["post-218265","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-bmg"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/218265","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/comments?post=218265"}],"version-history":[{"count":0,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/218265\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media\/218266"}],"wp:attachment":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media?parent=218265"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/categories?post=218265"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/tags?post=218265"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}