In U.K. publishing, execs are experiencing a boom in creativity and connection post-pandemic while keeping their eye on new trends in the worlds of technology and global music.

Acts to watch: Whyjay & Litek, Dylan, piri, Deyaz

How has the publishing business changed post-pandemic?

Mike McCormack, Managing Director, Universal Publishing Group U.K.: Creativity has definitely boomed since lockdown finished. Collaboration is so important for the songwriting process and many writers just didn’t find the isolation of lockdown inspiring—Zoom sessions didn’t work in most cases. I’m positive we will see some great new music coming.

Amber Davis, Head of A&R, Warner Chappell Music U.K.: It definitely feels like it’s a faster-paced business these days. And I think it can be harder for new artists and writers to break through the noise now that there are so many one-off moments from places like TikTok.

Felix Canetty-Clarke, Senior Director of A&R Research and Analytics, U.K. and International/A&R Manager: The pandemic allowed us to expand our connections virtually; writers were connecting all over the world in territories they wouldn’t usually have visited. The barriers of travel, like cost and time, were removed. This was a definite positive to come out of a difficult time for many. As international travel opens up again, these virtual relationships are being built on in real life. In the U.K., we just moved into our new HQ in Kings Cross and it’s been wonderful to see so many of our writers in the office in person. Having the whole U.K. company together, I certainly benefit from a closer relationship with different teams and feel more connected to the wider business.

What are the biggest challenges you’re facing today as a publisher? How are you navigating them?

McCormack: My biggest challenge is staying focused on signing exceptional talent in such an insanely fast-moving market. There are so many distractions, and it takes a lot longer for a real artist and writer to shine through with the volume of competition worldwide.

Davis: It can definitely be hard for new artists and writers to break through; trying to get real talent to shine through throw-away TikTok moments is a challenge we’re battling. We’re also working in a sample-heavy scene, so it can be a challenge to get original music out there. But we continue to work closely with our writers and put them in the best rooms and sessions possible. We know that a great song can still cut through the noise and it’s our job to help facilitate that song’s being made.

Canetty-Clarke: Aside from my creative role in A&R, I run the U.K. A&R research team, and one of the biggest challenges we face is the volume of songs being released. We have teams of people focused on just this to keep A&R informed of what’s happening and where. No one can listen to everything, so we have to think about solutions to simplify and ensure that we are on the things that matter. Signing “Wellerman” by Nathan Evans (600m streams on Spotify so far) with my colleague and friend Saul Fitton was one of those moments where data played a very significant part in making the deal a reality. It was exciting, fast-paced, and we are proud publishers of that song and proud of Nathan.

Where are the most exciting opportunities and developments for British writers and producers right now?

McCormack: The opportunities are boundless if the writer/artist is determined to put in the work needed and consistently write the top-quality songs that will keep their audience engaged and growing.

Davis: International collaborations are offering some really exciting opportunities for British writers and producers. And the ability to travel again after the pandemic has meant writers can visit new places, soak up the culture and work with local talent.

Canetty-Clarke: Genre in the U.K. is so fluid at the moment and I find that exciting and it makes our jobs even more dynamic. I love seeing dance music thrive, I love hearing songs from outside the U.K. make an impact domestically and I love hearing new sounds, like phonk, enter the market in a meaningful way. As a writer and producer, there are so many areas in which you can try your hand and while that’s an opportunity, I’d always encourage a writer to weigh their time towards a single space to really understand the songs that have had success in that world and focus on how they intend to set themselves up to create in that sound.

What trends or developments in the U.K. market are you following?

McCormack: So many trends—where to start? We’re looking daily at trends across every genre of music to see what music/songs are connecting to which audience. The U.K. has always been fast-moving, innovative and creative and every scene seems to mushroom into a dozen other sub-scenes. This week, we’re doing an amapiano writing camp in London in conjunction with our French and South African companies to explore the exciting sounds coming out of South Africa.

Canetty-Clarke: The junction between creative and commercial has always been a space I’m interested in, and where I sit at SMP, I’m always looking at new technology and solutions. Whether it’s a startup looking at TikTok data or a more established player bringing a new report or product to market, we want to ensure we have the best to serve our teams around the world.

Is there anything on the horizon that will have an impact on the way your company and talent operates?

McCormack: As the U.K. scene has always been mercurial and fast-moving, the U.K. creative team is always looking to stay ahead of any opportunities or potential problems and adapt accordingly.

Davis: At Warner Chappell, I hope we’ll continue to work as we always have—by putting the writers first and offering them the best service and support we can. I don’t think we’ll change the way we work because of trends.

Canetty-Clarke: I mentioned our new office, and I think that’s important to note here, too. We have two writer rooms on our floor and it’s great to see songwriters coming in and using those on a regular basis. We also have a venue space in the building, where we hosted our first showcase for Holly Fletcher last month—we had our sync team, A&R team and supervisor clients all there. We’re always looking to bring our talent together in settings like songwriting camps based around a festival, artist or genre. As publishers, we’re connecting the dots, facilitating opportunities to serve our songwriters.

What should we be looking out for from you and your team going into 2023 and beyond?

McCormack: We have so much great new talent at various stages of development and global success right now, but I’m really looking forward to hearing new music from Glass Animals, Bicep, Griff, Holly Humberstone, Sam Ryder, Joel Corry, Easy Life and Alok, to name just a few.

Davis: We’ve got some really exciting deals in the pipeline; we’ve recently signed Piri as well as Tom Moutchi and Sam Tompkins, who I’m sure will both have amazing 2023s. And there should be a new Stormzy album out that will blow everyone away.

Canetty-Clarke: I am super-excited about Mitch Sanders. Having set up sessions for him, which led to songs being written that are to be released, it’s been a fantastic experience to be part of from the very start. I also want to shine a light on Caity Baser, whom I signed this month. Caity is already flying, selling out shows and hitting the charts in the U.K. I was at her headline show recently in North London and am excited for more people to discover her music as her star continues to rise.