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“Stop, drop, shut ’em down...” EDITORIAL HEAD OF CONTENT George Garner george.garner@futurenet.com DIGITAL EDITOR Andre Paine andre.paine@futurenet.com FEATURES EDITOR Ben Homewood ben.homewood@futurenet.com ART EDITOR Steve Newman steve.newman@futurenet.com CHARTS & DATA Isabelle Nesmon isabelle.nesmon@futurenet.com CHART CONSULTANT James Masterton CONTRIBUTORS Cleo Amedume, Sammy Andrews, Chris Catchpole, Niall Doherty, Anna Fielding, Mark Davyd, Charlotte Gunn, James Hanley, Paul Harries, Colleen Harris, Kuka K, Louise Haywood-Schiefer, Natty Kasambala, Emmanuel Legrand, Simon McEwen, Justin Onyeka, Joseph JP Patterson, Paul Stokes, Sarah Thomas, Carla Marie Williams COMMERCIAL ADVERTISING MANAGER Helen Hughes helen.hughes@futurenet.com SENIOR EVENT MANAGER Philippa Newman philippa.newman@futurenet.com SUBSCRIPTION SALES 0330 390 6720 PRODUCTION B2B PRODUCTION MANAGER Matthew Eglinton matthew.eglinton@futurenet.com MANAGEMENT MANAGING DIRECTOR, MUSIC Stuart Williams UK CRO Zack Sullivan COMMERCIAL DIRECTOR Clare Dove HEAD OF PRODUCTION US & UK Mark Constance GLOBAL HEAD OF DESIGN Rodney Dive HEAD OF DESIGN (MUSIC) Brad Merrett GROUP ART DIRECTOR B2B Nicole Cobban COMMERCIAL FINANCE DIRECTOR Dan Jotcham INTERNATIONAL Music Week is available for licensing and syndication. Contact the licensing team to discuss partnership. HEAD OF PRINT LICENSING Rachel Shaw licensing@futurenet.com MusicWeek 1-1o, Praed Mews, London, W2 1QY Editorial: 0330 390 6751 Advertising: 020 3878 3723 Subscriptions: 0330 390 6720 For any queries with your subscription please contact the number above Email musicweek@abacusemedia.com musicweek.com/subscribe All contents © 2021 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions. Music Week is a member of the Periodical Publishers’ Association ISSN – 0265 1548 Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR) www.futureplc.com Chief executive Zillah Byng-Thorne Non-executive chairman Richard Huntingford Chief financial officer Rachel Addison Tel +44 (0)1225 442 244 Printed by Buxton Press Ltd, Palace Road, Buxton, Derbyshire, SK17 6AE Welcome to Music Week... X marked the spot April was a tough month for music fans. From Anita Lane to Digital Underground’s Shock G, we lost some incredible, influential talents. Indeed, in a quick succession of days some of the heroes of my youth passed away: Black Rob – whose Bad Boy Records 2000 debut Life Story deserves much more attention – and Jim Steinman, the musical mastermind behind the first cassette single I ever bought: Meat Loaf’s I’d Do Anything For Love (But I Won’t Do That). And then there was DMX… One of my fondest memories as a teenager was being in New York’s Virgin Megastore in Times Square and buying DMX’s It’s Dark And Hell Is Hot shortly after it came out, and the thrill of hearing him single-handedly alter the trajectory of an entire genre with one record. There has been a great deal of reflection upon his legacy recently, including one aspect of his career that had perhaps often been overlooked in his lifetime. DMX was a staunch advocate for artists’ rights. To that end, there’s one entry in his catalogue that I’ve been dwelling on a lot this past month. As well as being a song, 2007’s The Industry was a poem written for the Def Poetry Jam series in which DMX – who had navigated years of label rejection to go on to sell millions of records, including two US No.1 albums in the space of 12 months – took the music business to task. Never a man to mince his words, some of his choice lines included: ‘They loaning you money to make an album, you pay ’em back the money, they still own the album!’ and, ‘Twenty-six cents a motherfucking record? We need a motherfucking union!’. These were among the more restrained ones. The music business has come a long way since DMX penned this. I firmly believe there are many reasons to be hopeful right now, and on lots of fronts – from the more progressive deals being offered to a lot of artists, to the invaluable and inspiring work being done by this month’s cover stars in the Black Music Coalition with their five calls to action. But listening to DMX’s words 14 years on, their prescience is both remarkable and deflating in how closely they echo what so many modern musicians are still saying. It’s a sad fact that artists don’t always get the sustained love, respect or attention they deserve in their lifetime – lest we forget, Jim Steinman delivered an album as defining as Bat Out Of Hell and yet was somehow never inducted into the Rock & Roll Of Hall Of Fame. Fortunately, it’s not just the music of departed artists that endures, it’s also what they stood for. ‘I’m not an industry artist,’ DMX insisted. ‘I’m an artist in the industry.’ It would be a mistake to assume he was only guiding future generations of musicians with that line. There’s a stark message for the music business in it, too. George Garner, Head Of Content IMPORTANT ANNOUNCEMENT We would like to advise all of our customers to please log in to your account on musicweek.com and make sure your contact details are correct. We must have your email address, regardless of the subscription option you have, in order to send you the Weekly Digital Chart Packs. If you need additional information please contact customer service at musicweek@abacusemedia.com or +44(0)20 8955 7020 musicweeknews @musicweek musicweekinsta

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“Stop, drop, shut ’em down...”

EDITORIAL HEAD OF CONTENT George Garner george.garner@futurenet.com DIGITAL EDITOR Andre Paine andre.paine@futurenet.com FEATURES EDITOR Ben Homewood ben.homewood@futurenet.com ART EDITOR Steve Newman steve.newman@futurenet.com CHARTS & DATA Isabelle Nesmon isabelle.nesmon@futurenet.com CHART CONSULTANT James Masterton

CONTRIBUTORS Cleo Amedume, Sammy Andrews, Chris Catchpole, Niall Doherty, Anna Fielding, Mark Davyd, Charlotte Gunn, James Hanley, Paul Harries, Colleen Harris, Kuka K, Louise Haywood-Schiefer, Natty Kasambala, Emmanuel Legrand, Simon McEwen, Justin Onyeka, Joseph JP Patterson, Paul Stokes, Sarah Thomas, Carla Marie Williams COMMERCIAL ADVERTISING MANAGER Helen Hughes helen.hughes@futurenet.com

SENIOR EVENT MANAGER Philippa Newman philippa.newman@futurenet.com SUBSCRIPTION SALES 0330 390 6720

PRODUCTION B2B PRODUCTION MANAGER Matthew Eglinton matthew.eglinton@futurenet.com

MANAGEMENT MANAGING DIRECTOR, MUSIC Stuart Williams UK CRO Zack Sullivan COMMERCIAL DIRECTOR Clare Dove HEAD OF PRODUCTION US & UK Mark Constance GLOBAL HEAD OF DESIGN Rodney Dive HEAD OF DESIGN (MUSIC) Brad Merrett GROUP ART DIRECTOR B2B Nicole Cobban COMMERCIAL FINANCE DIRECTOR Dan Jotcham

INTERNATIONAL Music Week is available for licensing and syndication. Contact the licensing team to discuss partnership. HEAD OF PRINT LICENSING Rachel Shaw licensing@futurenet.com

MusicWeek 1-1o, Praed Mews, London, W2 1QY

Editorial: 0330 390 6751 Advertising: 020 3878 3723 Subscriptions: 0330 390 6720

For any queries with your subscription please contact the number above Email musicweek@abacusemedia.com musicweek.com/subscribe

All contents © 2021 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein.

If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.

Music Week is a member of the Periodical Publishers’ Association ISSN – 0265 1548

Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR) www.futureplc.com

Chief executive Zillah Byng-Thorne Non-executive chairman Richard Huntingford

Chief financial officer Rachel Addison

Tel +44 (0)1225 442 244

Printed by Buxton Press Ltd, Palace Road, Buxton, Derbyshire, SK17 6AE

Welcome to

Music Week...

X marked the spot

April was a tough month for music fans. From Anita Lane to Digital Underground’s Shock G, we lost some incredible, influential talents. Indeed, in a quick succession of days some of the heroes of my youth passed away: Black Rob – whose Bad Boy Records 2000 debut Life Story deserves much more attention – and Jim Steinman, the musical mastermind behind the first cassette single I ever bought: Meat Loaf’s I’d Do Anything For Love (But I Won’t Do That). And then there was DMX… One of my fondest memories as a teenager was being in New York’s Virgin Megastore in Times Square and buying DMX’s It’s Dark And Hell Is Hot shortly after it came out, and the thrill of hearing him single-handedly alter the trajectory of an entire genre with one record. There has been a great deal of reflection upon his legacy recently, including one aspect of his career that had perhaps often been overlooked in his lifetime. DMX was a staunch advocate for artists’ rights. To that end, there’s one entry in his catalogue that I’ve been dwelling on a lot this past month. As well as being a song, 2007’s The Industry was a poem written for the Def Poetry Jam series in which DMX – who had navigated years of label rejection to go on to sell millions of records, including two US No.1 albums in the space of 12 months – took the music business to task. Never a man to mince his words, some of his choice lines included: ‘They loaning you money to make an album, you pay ’em back the money, they still own the album!’ and, ‘Twenty-six cents a motherfucking record? We need a motherfucking union!’. These were among the more restrained ones. The music business has come a long way since DMX penned this. I firmly believe there are many reasons to be hopeful right now, and on lots of fronts – from the more progressive deals being offered to a lot of artists, to the invaluable and inspiring work being done by this month’s cover stars in the Black Music Coalition with their five calls to action. But listening to DMX’s words 14 years on, their prescience is both remarkable and deflating in how closely they echo what so many modern musicians are still saying. It’s a sad fact that artists don’t always get the sustained love, respect or attention they deserve in their lifetime – lest we forget, Jim Steinman delivered an album as defining as Bat Out Of Hell and yet was somehow never inducted into the Rock & Roll Of Hall Of Fame. Fortunately, it’s not just the music of departed artists that endures, it’s also what they stood for. ‘I’m not an industry artist,’ DMX insisted. ‘I’m an artist in the industry.’ It would be a mistake to assume he was only guiding future generations of musicians with that line. There’s a stark message for the music business in it, too.

George Garner, Head Of Content

IMPORTANT ANNOUNCEMENT We would like to advise all of our customers to please log in to your account on musicweek.com and make sure your contact details are correct. We must have your email address, regardless of the subscription option you have, in order to send you the Weekly Digital Chart Packs. If you need additional information please contact customer service at musicweek@abacusemedia.com or +44(0)20 8955 7020

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@musicweek musicweekinsta

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