New figures show that Black Music has contributed 80% (£24.5billion) to UK music industry over 30 years of recorded music
UK Music together with industry partners has today released ‘Black Music Means Business: Driving Economic Growth In The UK’ - a landmark new report that 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, from 1994 to 2023.The study focuses on the economics and infrastructure of Black Music in Britain, supported by the largest volume of commercially robust music industry data ever analysed for economic calculations of music, as well as quantitative and qualitative methodology, one-to-one interviews and roundtable research with approximately 80 key music industry executives and artists. The outcome is a renewed and inclusive understanding of the value of Black British Music, celebrating its deep roots, rich history and ongoing legacy. The report closes with eight recommendations to provide a roadmap for a fairer, more sustainable and globally competitive UK music industry.‘Black Music Means Business’ was initiated by the UK Music Diversity Taskforce and commissioned by UK Music. The project was spearheaded by Taskforce Chair Ammo Talwar MBE, Vice Chair Paulette Long OBE and Eunice Obianagha, Head of Diversity, UK Music, with funding support from a cross-section of headline partners. The study also consulted with the Black Music Means Business steering group.The research and analysis has been undertaken by Counterculture, which had a team working under Wendy Cave and Vick Bain. The research explores three key areas:
Culture – The impact of Black Music to national identity through the development of Black Music genres and successes
Commerce – The economic structures of the recorded music sector between 1994 and 2023
Community – The infrastructure and key players in the Black Music community across the country
Ammo Talwar MBE, Chair of UK Music Diversity Taskforce and instigator of the report said: “The aim of the report is to act as an advocacy tool and rallying cry that is a catalyst for ongoing analysis, growth, increased representation, equity and stronger collaboration, thereby building confidence in Black Music. The report should give us great optimism for the future of Black British Music. However, this phenomenal cultural force must be nurtured.” The key findings are:
Black Music is the central force powering the UK music industry – Making a commercial contribution of 80% and £24.5billion out of a total £30billion UK market, across 30 years of recorded music.
An official definition of the term ‘Black Music’ and its genres – The report offers a comprehensive definition of the term, with the hope it can be adopted as a standard definition across industry and sectors. The report definition focuses on the broader cultural and historical context
“Black Music”: “Music 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.”
“Black Music genres”: “These genres are characterised 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.”
The first mapping of Black Music’s multitude of genres –– Establishing a framework for analysis of market data and identifying growth opportunities. With three key Tiers and commercial contributions (extrapolated as detailed in the economic section of the report) over 30 years:
Tier One: Black British Genres - 29 Genres: have generated over £1.24 billion of the market in 30 years and continue to grow in economic importance.
Tier Two: Core Black Music Genres - 37 Genres: during the same period British artists making Core Black Music genres have generated £4.83 billion in sales.
Tier Three: Genres originating from Black Music – 72 Genres: produced by British artists has contributed an estimated £11.94 billion (40%) to the market.
Opportunity Gap - While Black music has grown significantly over the past 30 years, equity and representation for Black talent has not kept pace. There is a lack of support for Black music creators and executives, despite the global success and influence of artists including Little Simz, Central Cee, Dave, RAYE, Stormzy, Sault, Ezra Collective, Michael Kiwanuka, Soul II Soul and Sade to name a few. At senior industry levels, just 22% of the workforce identify as Black, Asian or minority ethnic, compared to 46% of London’s population (UK Music Diversity Report 2024). Black artists and professionals also face disparities in contracts, pay, funding and support, including a documented 20% pay gap (Black Lives in Music, 2021). Interviews and roundtables with approximately 80 Black creators and professionals confirm persistent patterns of inequity and barriers to progression.
Paulette Long OBE, Vice Chair UK Music Diversity Taskforce, said: "Black Music has shaped the sound and global success of British music for decades, yet its true commercial value has never been fully recognised. This 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. If 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."Tom Kiehl, Chief Executive of UK Music said “This groundbreaking report demonstrates the integral role that Black Music plays in powering music in the UK. It generates pivotal economic success to both the industry and UK economy as a whole. UK Music wants this report to not only be a point of reference but also a basis for facilitating change and positive action through its recommendations. We must not just recognise this fantastic achievement, but use it to meet our intention to achieve an industry that is genuinely reflective of the full diversity of the UK.”Eunice Obianagha, Head of Diversity, UK Music said: “This first of its kind report provides the evidence that can strengthen the industry through better data and increased understanding. It demonstrates both the scale of Black Music’s commercial contribution and highlights that some barriers persist. The report shares recommended practical actions that are an opportunity 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.”The report demonstrates that Black music is at the root of virtually every strand of popular music, a cultural and commercial powerhouse, with an unmatched influence on global audiences, music consumption, sales and streaming. The study shows that Black music operates as:
A rich and innovative artform proven to birth globally influential genres and internationally recognised artists.
A cultural export that crosses borders via diasporic connections and new technologies.
A creative industries driver; feeding streaming platforms, fashion, live performance, social media and youth identity.
A valuable soft power asset for the UK, with clear scope to be amplified through investment and strategic focus.
The study recommends eight actions to address challenges that Black Music faces and create a long-term commitment from industry and government:
Institutional funding & co-design - Support performance spaces and recording studios, Black Music archives and cultural landmarks with institutional funding, co-designed with government.
Language & genre authenticity - Back the collective use and definitions of the term “Black Music”.
Music Education review - Recognition of Black Music genres as a core part of school and tertiary education curricula.
Growth investment - A proportion of government’s £30m Music Growth Package to support Black Music genres, Black-led organisations and enterprises.
Export development - Call on the Department for Business and Trade to back Black Music internationally.
Inclusive community access - Integrate Black music into local regeneration plans.
Robust data collection - Increase investment in comprehensive, evidence-based research on Black Music.
Develop equitable partnerships between industry and Black Music practitioners.
The full ‘Black Music Means Business: Driving Economic Growth In The UK’ report can be downloaded here.
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Notes to editors:
Media Kit including headshots, social media kit, report cover and general images here
Methodology: (i) Report uniqueness: We are aware of only one other report that attempted an analysis and evaluation of Black music, this was by a team in Canada. With further info on Page 9
of the report. (ii) Data and limitations: BPI and Chartmetric data was used for the commercial measures. The data may be incomplete, especially pre streaming stats, but figures were checked against other reports, including UK Music’s economic reports that calculate the total impact of music on the UK economy, to avoid double counting data. The sales figures for the UK recorded music sector are for recorded music only, measured in AES, i.e. Album Equivalent Sales, the figures do not measure live music, merchandise, or other types of commercial revenue for music. (iii) Extrapolation: The recorded music calculations were based on an analysis of 66% of the market from 10,000 albums and 15,000 tracks, given the breadth of data gathered, the findings of the sample were assumed to be a good representation of 100% of the recorded music market. (iv) Mapping music genres: The genres were mapped by cross referencing UK charts data and Chartmetric classifications. (v) Black Music definition, there have been definitions of this term from scholars, institutions, and music organisations, yet there is no universally agreed, dictionary-defined term. (vi) The calculations suggest genres originating from Black Music by both British and international artists accounts for an estimated £24.5 billion of the UK £29.6billion market over 30 years, 83% of the total market. This combines both calculations Four and Five in the Methodology document.
The report Methodology document is here.
UK Music is the collective voice of the UK’s world-leading music industry. We represent all sectors of our industry – bringing them together to collaborate, campaign, and champion music. The members of UK Music are: AIM, BPI, FAC, The Ivors Academy, MMF, MPA, MPG, MU, PPL, PRS for Music. UK Music also has an informal association with LIVE (Live music Industry Venues & Entertainment).
Community partners: Action for Diversity and Development, Black Lives in Music, Black Music Coalition, Complex Magazine, Mixtape Madness, MOBO Group, PRS Foundation Power Up, Trench, Black Music Research Unit.
Black Music Means Business steering group: Julie Adenuga, Remi Burgz, Sheneice Charway, Char Grant, Afyrea Henry-Fontaine, Laura Lukanz, Sheryl Nwosu, Yaw Owusu, Christine Osazuwa, Cookie Pryce, Jade Richardson, Dr Mykaell Riley, Orphy Robinson, Ben Ryan and Komali Scott-Jones.
Counterculture: An international, multi-disciplinary consultancy providing specialist professional services across arts and culture in strategy, research, policy, governance, management, stakeholder consultation, finance, HR, law, EDI and capital projects. They work in the third, cultural and public sectors and with not-for-profit organisations, and have specialist experience in the music industry and creative economy. The Counterculture team for this report were Wendy Cave, Vick Bain, Natasha Hendry and Tara Tank, plus Neil Darwin and Sophie Satchell from Deyton Bell.