MEASURING MUSIC 2018 REPORT - UK Music
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MEASURING MUSIC 2018 REPORT
UK MUSIC · MEASURING MUSIC 3
CONTENTS
WELCOME
Margot James MP 3
Minister of State for Digital & Creative Industries
INTRODUCTIONS
IMAGE
Michael Dugher 4
CEO, UK Music
Andy Heath MBE 4
Chairman, UK Music
HEADLINE 2017 FIGURES FOR UK MUSIC INDUSTRY 6
THE UK MUSIC INDUSTRY’S 2017 ECONOMIC 7
CONTRIBUTION IN NUMBERS
CHALLENGES WE FACE 12
WORKING IN THE MUSIC BUSINESS
Ralph Salmins 15
Printed Music Licensing Limited 16
Nadia Khan 17
Metropolis Studios 18
PPL PRS Ltd 19
METHODOLOGY 21
ACKNOWLEDGEMENTS 23
Photo Credit | Sheku Kanneh-Mason | © Lars Borges / Decca
4 UK MUSIC · MEASURING MUSIC UK MUSIC · MEASURING MUSIC 5
WELCOME INTRODUCTIONS
I am delighted to welcome the We recognise that protecting The figures in this Measuring Music and build on this success for the
findings in this year’s Measuring copyright is crucial to music’s report reveal that British music is future?
Music report and congratulate UK success and that we are committed doing incredibly well.
Music for their commitment to to addressing the transfer of value If we want to produce the next
producing firm evidence on behalf of from the creative industries and These are exciting times with our generation of global British stars for
their sector. progress work on closing the value contribution to the economy at a the future, we’ve got to think about,
gap at European and domestic levels. record high £4.5 billion, exports are plan and invest in that future.
Working with Michael and his rising significantly, and growth in the
MARGOT JAMES MP excellent team remains a perk of The Government also recognises the MICHAEL DUGHER creative industries overall is twice as We have to make sure that every
Minister of State for Digital CEO, UK Music child, regardless of what background
& Creative Industries
my job. The report demonstrates challenges music venues face with fast as the rest of the economy.
continued sustained growth with the 35 per cent closing over the past they come from or how much
music industry now contributing £4.5 decade. Working alongside Ministry I’m really proud of the fact that these money their parents have, has the
billion to the economy. Exports have of Housing, Communities and Local figures show that when it comes to opportunity to access music, to enjoy
risen to £2.6 billion and the sector Government we introduced the music, we in the UK are very, very its transformative power and to try
employs 145,815 people. agent of change principle in the new good at what we do. out a career in a the industry if they
National Planning Policy Framework, want to.
2017 was a very successful year providing a much needed tool to But when things are going well, that
globally for the UK music industry. venues as part of any planning is exactly the time when we need to The UK music industry is ready to
Ed Sheeran’s third album ÷ (Divide) disputes. Music venues are crucial think about the future. We need to play its part. We want to work with
was the biggest selling album of the to the future success of our music use this as an opportunity not for a government and others to build on
year. The O2 in London was officially industry and we are committed to moment of self-congratulations, but our current success so we can achieve
the most popular live music arena in protecting them. to say: what do we need to do today even more in the future.
the world. Five of the top ten most to ensure that we protect, nurture
successful worldwide tours were I am confident that the UK music
from UK acts. 2018 is proving to be no industry is brilliantly placed to benefit
different. from the opportunities that lie ahead
of us and maintain the global success We are fortunate that levels of gems that make our industry so
We need to build on these story it undoubtedly is. creativity in the music industry are unique.
achievements and as the Minister really promising at the moment.
responsible for the creative Due to our success, there are some
industries I am firmly committed to It is a fantastic time for music- digital services that are trying to
doing just that. makers and for consumers – both break the unity we saw over the
in the variety of music on offer and recent copyright battle to increase
Earlier this year the Government, the different ways that people can their own already huge profits.
in partnership with our creative choose to listen to music. ANDY HEATH MBE
industries, introduced a sector deal I would just urge people to beware Chairman, UK Music
as part of our Industrial Strategy. The However, there are challenges. It is of Greeks bearing gifts in an effort
Creative Industries Sector Deal sets difficult in the digital age to break to divide us. We are far stronger and
out firm commitments to support new talent because of the sheer more successful as an industry when
sectors like music. quantity of music out there in a we work together.
crowded marketplace.
That difficulty is growing and means
brilliant creators have to fight harder
than ever to get their music heard.
In the years ahead, it will be a test
to help audiences and consumers
differentiate and find the musical
6 UK MUSIC · MEASURING MUSIC UK MUSIC · MEASURING MUSIC 7
HEADLINE 2017 FIGURES FOR UK MUSIC THE UK MUSIC INDUSTRY’S 2017 ECONOMIC
INDUSTRY CONTRIBUTION IN NUMBERS
We have used the same definition for This is followed by a graphic below
£4.5 BILLION
Total Gross Value Added (GVA) contribution
£2.6 BILLION
Total export revenue generated by the UK
the core music industry in this report
as we did in our first assessment of
its economic contribution.
which shows the number of jobs
sustained in 2017.
generated by the UK music industry 2017 music industry in 2017 While musicians, composers,
The table below displays the songwriters and lyricists contributed
relationship between what UK Music over £2 billion in Gross Value Added
has identified as Sectors (Thematic (GVA) to the UK economy last year,
145,815
Total Full-Time equivalent UK employment
60%
Almost 60% of PRS for Music International
Groups) and Sub Sectors (Elements of
the Core) within the music industry.
and producers, recording studios
and their staff contributed £122
million, it is vital to understand that
sustained by music in 2017 revenue comes from Europe The infographic overleaf shows these figures do not reflect the level
the music industry’s contribution of their earnings. A small proportion
in goods and services, known as of those in the industry do earn well.
12% £355 MILLION
Gross Value Added (GVA), to the UK’s But there are also many in the music
national income or Gross Domestic business who earn an average or
Increase in overseas revenues that were International revenue collected by PPL Product (GDP). Exports are the part below average salary.
earned by UK record labels in 2017 over the last 10 years for performers and of this contribution generated by
record companies revenues outside the UK.
SECTORS SUB SECTORS
The success of the UK music industry has to date delivered an £11 return
is testimony to a creative sector that on every £1 invested to help support Musicians, singers
Musicians, Composers,
is punching well above its weight mainly independently-signed Songwriters & Lyricists
as the world’s largest exporter of artists develop their fan-bases and Composers, songwriters, lyricists
music outside of the US. Alongside commercial opportunities overseas.
Ed Sheeran, the most recent albums There is a strong case for this being Record labels
by Rag’n’Bone Man, Sam Smith extended beyond the current 2020
Recorded Music Online music distributors
and Harry Styles all featured in the target.
International Federation of the
The UK music industry is involved Design and manufacture of physical product and packaging
Phonographic Industry’s (IFPI) global
top 10 for 2017. in international trade missions and
Music festival organisers, music promoters, music agents
events. This includes collaborative
Collaborative initiatives that see working between organisations like
Production services for live music
the UK Government working in AIM, BPI, MPA, PPL and PRS for Music
Live Music
partnership with the music industry in promoting British music. Recent Ticketing agents – the proportion of their activities
have also helped to raise the missions include visits to growing involved with live music
international profile of British artists. markets including China and India, Concert venues and arenas – the proportion of their
The Music Export Growth Scheme while the annual LA Sync mission and activities involved with live music
(MEGS) – managed by the BPI and UK presence at MIDEM in France and
Music Publishing Music publishers
funded by the Department for SXSW in Austin, Texas are key fixtures
International Trade (DIT) as part of in the music industry calendar.
Collecting societies
the Export is GREAT campaign – has The industry also takes a proactive
now distributed over £3 million to approach for events designed to Music Representatives Music managers
around 200 music exports projects attract international buyers to the UK,
since it made its very first awards such as The Great Escape in Brighton. Music trade bodies
to 15 artists in February 2014. MEGS
Music producers
Music Producers, Recording Studios
and Staff
Recording studios and staff
8 UK MUSIC · MEASURING MUSIC UK MUSIC · MEASURING MUSIC 9
TOTAL GVA CONTRIBUTION 2017 2017 EMPLOYMENT
£4.5 BILLION 1,049 145,815
£12
28,659
in Publishing
9M 2M
9,641
£9
2,284 in Recorded
£505M
£2 BN
Representatives
in Live
13,029
in Production
0M
£70
91,153
£9
91
M
TOTAL EXPORT REVENUE 2017
£2.6 BILLION
Musicians
M
48
£3
£25
M
£978M
£719M
£8
0M
M
68
£4
Production Musicians Recorded Live Publishing Representatives Production Musicians Recorded Live Publishing Representatives
* GVA is the grand total of all revenues, from final sales and (net) subsidies, which are incomes into businesses. Those
incomes are then used to cover expenses (wages & salaries, dividends), savings (profits, depreciation), and (indirect)
taxes. Total Export revenue equals the total receipts generated from music within all sectors from outside the UK.
Photo Credit | Rag’n’Bone Man performing at the Brit Awards 2018 | © JM Enternational, Courtesy BRIT Awards Limited/BPI
12 UK MUSIC · MEASURING MUSIC UK MUSIC · MEASURING MUSIC 13
CHALLENGES WE FACE
The clear evidence of continuing According to a UK Music survey, 17 per to commit to a new National Plan not receive equivalent assistance,
growth across the music industry cent of music creators were educated for Music Education. It must also reinforcing financial challenges that
outlined in our Measuring Music at fee-paying schools - compared with consider how creative learning the sector faces.
report is fantastic news. seven per cent across the population can be incentivised in schools. For
as a whole. This matters because 50 example, a school should not receive It is vital that big tech plays its part
But it is vital we recognise the per cent of children at independent an “outstanding” Ofsted rating if it in addressing this problem. Google-
challenges we face in the years schools receive sustained music does not provide adequate provision owned YouTube needs to return fairer
ahead. We will need to meet these tuition, while the figure for state for music education. Music education rewards.
challenges if we are to safeguard schools is only 15 per cent. That has hubs should be made more
the continued success of our sector. to change. accountable to local stakeholders. At present, creators can expect to get
As well as highlighting success, we as little as £0.00054 per stream from
must also recognise a number of As we highlighted in our UK Music Additionally, ahead of the 2018 the service.
issues facing our industry today. Talent Pipeline report earlier this Budget, UK Music called for a review
These affect thousands of jobs in our year, the latest GCSE results revealed into the funding of music in state On infrastructure some solutions
industry, supporting and influencing a 7.4 per cent drop in the number education to evaluate the impact have been put in place for music
the pipeline that will produce future of pupils taking the subject despite that pressures on school budgets is venues, where 35 per cent have
talent. overall GCSE entries increasing by 0.2 having. closed across the past decade. This
per cent in the 2017/18 academic year. includes the welcome introduction of
We report that creators contribute This follows an 8 per cent drop in the The UK Music Talent Pipeline Report the agent of change principle by the
£2bn in Gross Value Added but as set 2016/17 academic year. One fifth of also highlighted that financial UK Government to tackle planning
out on page 8 this does not reflect schools did not offer GCSE Music that barriers can act as a significant hurdle disputes affecting music venues.
their level of average earnings in the year. Of those that did, 11 per cent for the music talent pipeline with 46 However, hikes in business rates
industry. For too many, this remains a were taught outside curriculum time. per cent of musicians, composers, and licensing issues still present
low-earning sector. songwriters and lyricists needing problems for grassroots music
In 2010 the EBacc, which excludes financial help from family and friends venues, significantly cutting the
According to the Office of National creative subjects such as music, was at some point in the development of chances for up and coming musicians
Statistics, the average wage in the UK introduced. A total of 59.7 per cent their professional music career. to develop their skills.
in 2017 was £29,002 per annum. After of state schools say it has had a
analysing the earnings of 21 million negative impact on music provision Exciting schemes do exist which There is also Brexit and the
people, it concluded music creators and uptake, according to a study can tackle this. For instance, the implications of new restrictions on
earned significantly less at £20,504 conducted by the University of PRS Foundation Momentum Music our ability to tour the EU, coupled
than many other professions. So, it Sussex. Fund was set up to address the with other uncertainties for the
is no surprise that financial barriers growing disconnect in the funding industry at this critical time.
remain a major impediment in the This is also a story that is mirrored at of emerging artists. The Fund
development of talent. A-Level which is under threat due to provides career-boosting grants to These are just a few of the hurdles
schools and colleges no longer being precommercial, independent artists that present challenges to our talent
If we want to keep producing world- able to afford a budget to keep music at a crucial tipping point in their pipeline. We need to work with the
leading stars in every field, we need courses running. A survey by the career. The Government must partner Government, as well as devolved
to open up opportunities to music so Association of Schools and college with tipping point programmes like administrations and city region
that they are available to people of leaders (ASCL) revealed that four in Momentum to feed further growth. mayors to address these concerns.
all backgrounds. And we also need 10 have had to cut back on lesson Industry must also play its part to
to invest in music education, venues, time, staff or facilities for A-Level The UK Government has recently ensure that the UK music industry
rehearsal spaces and other areas Music over the last two years. developed a number of creative continues to grow and is vibrant,
that combine to form the unique sector tax credits to incentivise new diverse and even successful in the
ecosystem of the music industry. The Government urgently needs productions, however music does years ahead.
UK MUSIC · MEASURING MUSIC 15
WORKING IN THE MUSIC BUSINESS
RALPH SALMINS - MUSICIAN
There are a huge variety of jobs of more than 150 movies, including
within the ecosystem of the UK Harry Potter: The Prisoner of Askaban,
Music industry. We have taken a look Goldeneye, Tomorrow Never Dies,
at some of those roles to show how Charlie and The Chocolate Factory,
they fit into a complex infrastructure Moulin Rouge and Lord Of The Rings:
which produces music and talent Return Of The King. Ralph joined The
that is the envy of the world. Waterboys in 2011 and continues to
record and tour internationally with
Musicians are at the core of the the band.
industry and the story behind
drummer Ralph Salmins’ career is an Ralph’s love of jazz has led to work
inspirational one. with some of the legends of the art
form that include The Count Basie
Ralph’s signature groove has made Orchestra, Mose Allison, Herb Ellis,
him drummer of choice for producers Art Farmer, Jon Hendricks, John Lewis,
and composers worldwide and he has Joe Lovano, Wynton Marsalis, James
performed or recorded with Sir Paul Moody, Mark Murphy, Annie Ross,
McCartney, George Martin, Aretha Jimmy Witherspoon and Joe Williams.
Franklin, Elton John, Madonna, James He is currently a member of The Guy
Brown, Sir Tom Jones, Mike Oldfield, Barker Jazz Orchestra, Colin Towns’
Chaka Khan, Dionne Warwick, Quincy Mask Orchestra and is a regular guest
Jones, Diana Ross, Burt Bacharach, with the NDR Big Band in Hamburg.
Alison Krauss, Sheryl Crow, Elvis
Costello, Jeff Beck, Michel Legrand In 2012, Ralph acted as consultant
and many more. for the London Olympic Opening
Ceremony, co-ordinating 1,000
He played his first professional gig drummers with whom he performed
when aged just 16 with a working to an audience of over 1 billion.
dance band and his playing and When at home he records, composes,
stagecraft developed during his produces and teaches at his own
teens thanks to such extensive stage Bunker Studio where Georgie Fame,
experience. This was followed by his Hamish Stuart, Jocelyn Brown, Nick
studying classical percussion at The Mason, Billy Cobham, David Sanborn
Guildhall School of Music & Drama in and Michael McDonald have also
London. recorded.
Ralph then secured the drum seat Ralph is also a Professor at the Royal
in Van Morrison’s band, touring the College of Music, having worked
world from 1995 to 1999, in addition there for over 25 years, and been a
to recording four albums with the Professor at The Guildhall for 7 years.
legendary vocalist.
He has played on the soundtracks
Photo Credit | Ralph Salmins | © Ralph Salmins
16 UK MUSIC · MEASURING MUSIC UK MUSIC · MEASURING MUSIC 17
PRINTED MUSIC LICENSING LIMITED NADIA KHAN
Artist Manager CTRL Management &
It is vital that we nurture our talent Department for Education centrally Founder of Dench Records
pipeline if Britain is to maintain pays for the SPML for all schools
its reputation for producing music within England (the licence is also Managers are an important part of what
stars in every field. A crucial part of available to schools in Scotland, makes the music industry tick. Here,
safeguarding that talent is the role of Northern Ireland and Wales). At Nadia Khan explains her work and her
music in education. present, around 125 music publishers determination to inspire more women
have mandated their rights to be to join her on the frontline.
Printed Music Licensing Limited included for this scheme. This allows
(PMLL) runs the Schools Printed a broad selection of repertoire to be Nadia Khan, who manages Lethal Bizzle
Music Licence (SPML). This scheme accessed by teachers from across and runs Dench Records sits on the
allows teachers to photocopy and the UK. The monies received are board of the Association of Independent
arrange printed music as part of the distributed back to music publishers Music.
educational provision of the school. using data collected from schools
Schools have been benefiting from regarding what publications have ‘I started in the industry over 16
this licence since 2012 and it has been copied and reinvested into years ago, my first steps into the
allowed greater access to music for new copyrights. The licence ensures music industry was a two-week work
many students. Rather than having that not only are rightsholders being experience placement at a music PR
to buy copies of sheet music for a fairly remunerated for the use of company. I was determined not to leave
whole class the school only needs their works but also that teachers until they gave me a job. It was here that
to own one original to make copies. have greater access to all genres of I met my first management client, Lethal
By allowing arrangements under the music and are free to copy sheet Bizzle, working on his record “Pow!” in
licence teachers can tailor songs music without fear of infringement. 2004 - and I approached him to manage
for not only the voices but also the him. I still represent him 15 years later!
available instruments letting staff PMLL is part of the Music Publishers
make the most of what is available Association Group of Companies. One of the biggest challenges I faced
often within a limited budget. The was getting people to take me seriously
as I started in the industry quite young
and there weren’t any female managers
in grime at that time, so it was a big
“The SPML is a great example of how rightsholders are finding
challenge. I’m happy to see a lot more
licensing models to meet the practical needs of music users, in
females working in the industry and in
this case students and teachers in schools. Our broad publisher
management especially and through
mandate ensures that virtually all printed music is covered, also
my work with Women In CTRL hope to
enabling us to provide proper and fair remuneration for music
inspire more females to get into the
creators. We will evolve and adapt the SPML and our other licensing
industry.
schemes on a continuous basis to ensure that we continue to meet
the ever-changing sheet music needs – both physical and digital – At a time where grime was considered
of teachers, students and musicians.” too underground, myself and Bizzle
started Dench Records to release our
Richard King
own records. Without any mainstream
CEO of Faber & Chair of PMLL
radio we independently charted 2 top
20 and 3 top 40 singles.’
Photo Credit | Act | © Photographer / Organisation Photo Credit | Nadia Khan | © Nadia Khan
18 UK MUSIC · MEASURING MUSIC UK MUSIC · MEASURING MUSIC 19
METROPOLIS STUDIOS PPL PRS LTD
It is a source of great national pride Everyone wants to get properly paid
that musicians in the UK are respected, for their work – and that includes
resourced and revered. Central to that those who work in the music industry.
is the UK Studio Industry. Everyday PPL PRS is the new joint venture
people get out of their beds and come between the UK’s two music licensing
to work for one reason: to provide the societies which joined forces to make “In PPL’s 84 year history, the joint venture with PRS for
environment for a musician to reach it easier to get a music licence to play Music is without doubt the most ambitious project that
their full potential. And as a country, or perform music in public. we have undertaken. To navigate the complexities and
we do this better than anybody in the achieve it within two years is testament to our close
world. From some of the most famous The creation of PPL PRS Ltd was working relationship with PRS and the commitment
state of the art studios in the world a hugely ambitious project and is of our respective teams. This is an important moment
to our peerless sound and mastering the biggest joint venture of its kind for the music business at large and is a move towards
engineers, producers and mixers we are between an author and neighbouring greater efficiencies for our licensees and greater returns
home to the professionals whose one rights Collection Management for our members who create the music enjoyed by those
sole role is to make the artists vision a Organisation [CMO] in the world. we license all around the UK.”
reality. The new company has been created
to administer all of PPL and PRS for Peter Leathem
But we are in danger of squandering this Music’s licensing of music used by PPL Chief Executive
resource and losing one of this country’s businesses and other organisations
greatest cultural contributions. There in public, known as ‘public
are many reasons for this - business rate performance’. It aims to provide “We have invested years of effort and millions of pounds
hikes, developers turning studios into customers with a streamlined service, to simplify music licensing for UK businesses and on
apartments and the costs of remaining a single point of contact, and one behalf of PRS for Music, I am delighted to launch what
state-of-the-art all contribute. Time and licence covering both PPL and PRS is the largest joint venture of its kind in the world. This
time again we have seen the buildings for Music’s respective rights, thereby is the beginning of a new era in public performance
that witnessed the recording of some of simplifying the administration and licensing, which will bring real benefits to our members
the most important music in the world making it easier to obtain a licence and customers alike..”
turned in to somebody’s living room or to play and perform music in public.
Robert Ashcroft
office space. In the long term, the joint venture
PRS for Music Chief Executive
is expected to generate greater
Clearly nobody is immune to change revenues for members as a result
or deserves a living they don’t work of making operations even more “We are very excited to now offer customers of both PPL
for. However the environment where efficient. and PRS for Music a more streamlined approach for
an emerging or established UK music
licensing their businesses to play and perform music.
act can experiment, fail, flourish and
With the launch of TheMusicLicence we are providing
succeed all within one room with a
one licence and one contact, enabling companies and
team of professionals dedicated to
organisations to enhance their customer and employee
their talent deserves preserving. We
experience by playing music in their premises.”
connect musicians, artists, songwriters,
producers and engineers - we support Suzanne Smith
the artists that produce the music that Managing Director, PPL PRS Ltd.
powers a £4.5 billion UK business and
we have done this for 100 years and we
want to do it for the next 100.
Richard Connell
Metropolis Studios Chief Executive OfficerUK MUSIC · MEASURING MUSIC 21
METHODOLOGY
We have followed the same approach moves across international borders.
to Measuring Music over the last That is non-resident consumers
six years. In 2019 there will be a and/or businesses are making
thorough survey review. In respect of purchases outside the UK which,
data inputs, the number of musician through a wide range of channels,
survey respondents this year was transfer back across international
over 1000. borders to UK-based businesses.
In respect of what UK Music Export income comprises an
traditionally defines as the music unusually large proportion of revenue
industry we generate results in terms to UK music publishing and music
of GVA (Gross Value Added), exports representatives. Therefore, because
and employment – which are the of this, what remains as total GVA is
same metrics that are consistently less than its total export revenue.
reported by the Department for
Digital, Culture, Media and Sport Natalie Williams
(DCMS). While limitations in the Head of Research UK Music
Standard Industrial Classification
(SIC) codes apply to these metrics
when reported by DCMS, these
limitations do not apply to the results
that we report here in Measuring
Music.
We would like to add a note of
clarification on exports: UK Music
uses the Organisation for Economic
Co-operation and Development
(OECD) definition of exports, which
is recognised internationally by
governments and other agencies.
This states: *“Exports of goods and
services consist of sales, barter, or
gifts or grants, of goods and services
from residents to non-residents”.
For example, when non-residents of
the UK spend money on tickets for
music concerts or festivals in the
UK, they are contributing to exports,
as they are non-residents spending
on the services of residents. But,
in respect of most of the exports
covered in Measuring Music, money
Photo Credit | Rita Ora performing at the Brit Awards 2018 | © JM Enternational, Courtesy BRIT Awards Limited/BPI22 UK MUSIC · MEASURING MUSIC UK MUSIC · MEASURING MUSIC 23
ACKNOWLEDGEMENTS
Measuring Music is created on behalf The UK Live Music Group is made up
of UK Music and its members to of members of the Association for
highlight the economic contribution of Electronic Music (AFEM), Association of
the music industry to the UK economy. Independent Festivals (AIF), Association
of Festival Organisers (AFO), Concert
2018 is the sixth edition of the report, Promoters Association (CPA), Agents
which was first published in 2013. Association (AAGB), International Live
Music Conference (ILMC), National
UK Music is the umbrella organisation Arenas Association (NAA), Production
which represents the collective Services Association (PSA) and Music
interests of the UK’s commercial music Venue Trust (MVT) with contributions
industry - from artists, musicians, from PRS for Music Foundation, MU,
songwriters and composers, to MMF, FAC and BPI.
record labels, music managers, music
publishers, studio producers, music
licensing organisations and the live
music industry. The members of UK
Music are: AIM, BASCA, BPI, FAC, MMF,
Throughout this project we have For all media enquiries contact:
MPA, MPG, MU, PPL, PRS for Music and
received support from all parts of the
the Live Music Group Vincent Moss & Megan White
music industry with this research.
vincent.moss@ukmusic.org
Without their collaboration and
megan.white@ukmusic.org
enthusiasm this report would not
be possible. For all policy enquires contact:
Tom Kiehl & Felicity Oliver
Each member of UK Music has tom.kiehl@ukmusic.org
granted us access to their data felicity.oliver@ukmusic.org
and permission to survey their own
For all education enquires contact:
membership directly. In addition,
Oliver Morris
accountants of some of the UK’s
oliver.morris@ukmusic.org
leading music acts have provided
valuable information to allow us to For all research enquires contact:
compile these statistics. Natalie Williams
natalie.williams@ukmusic.org
We are pleased to continue working
This report was designed by
with the Intellectual Property Office
Beatriz Ribeiro at UK Music
(IPO), The Department for Digital,
Culture, Media and Sport (DCMS) All material copyright © UK Music
and the Office for National Statistics 2018 except where otherwise
(ONS) on this project. indicated
UK Music
We are especially greatful to the
Savoy Hill House
ONS for allowing us access to the
7-10 Savoy Hill
Virtual Microdata Lab (VWL) which
London
has enabled us to apply a bespoke
WC2R 0BU
methodology for the calculation of
the music industry’s GVA. T: 020 3713 8444
Twitter: @UK_Music
Email: info@ukmusic.org
Website: www.ukmusic.orgYou can also read
