{"id":222596,"date":"2025-02-03T23:55:03","date_gmt":"2025-02-03T23:55:03","guid":{"rendered":"https:\/\/www.musicbusinessworldwide.com\/?p=222596"},"modified":"2025-02-04T10:07:50","modified_gmt":"2025-02-04T10:07:50","slug":"read-sir-lucian-grainges-2025-memo-to-universal-music-group-staff-the-streaming-2-0-era-has-arrived1","status":"publish","type":"post","link":"https:\/\/www.musicbusinessworldwide.com\/read-sir-lucian-grainges-2025-memo-to-universal-music-group-staff-the-streaming-2-0-era-has-arrived1\/","title":{"rendered":"Read Sir Lucian Grainge’s 2025 memo to Universal Music Group staff: ‘Streaming 2.0 will represent a new age of innovation, consumer segmentation, geographic expansion, greater consumer value and ARPU growth.’"},"content":{"rendered":"

Universal Music Group Chairman and CEO Sir Lucian Grainge has issued his annual New Year note to UMG staff.<\/p>\n

The wide-ranging letter, sent on Monday (February 3) and obtained by MBW, covers UMG’s successes in 2024 and at last night’s Grammys<\/a>, the company’s advocacy for the responsible use of AI, UMG’s various charitable, environmental, health, and education efforts; and the progress made on the company’s artist-centric strategy.<\/p>\n

Grainge also confirms the arrival of what he calls “the Streaming 2.0<\/strong> era” \u2013 a phrase introduced at UMG\u2019s Capital Markets Day<\/a> in September.<\/p>\n

“Built on a foundation of artist-centric principles, Streaming 2.0<\/strong> will represent a new age of innovation, consumer segmentation, geographic expansion, greater consumer value and ARPU growth,” writes Grainge in today’s letter.<\/p>\n

“I\u2019m pleased to report that the Streaming 2.0 era has arrived.”<\/p>\n

<\/div>
<\/div>
<\/div> <\/div> \n

Grainge points to recent agreements with Amazon<\/a> and Spotify<\/a> that include Streaming 2.0 elements and confirms: “We expect that similar agreements with other major platforms will be coming in the months ahead.”<\/p>\n

UMG’s Chairman and CEO also describes in the letter how UMG will be “reaching out in new ways to engage fans” in 2025.<\/p>\n

“In addition to listening to their favorite artists\u2019 music, fans want to build deeper\u00a0<\/strong>connections\u00a0<\/strong>to artists they love,” he explained.<\/p>\n

He notes that in 2024, “in accelerating [UMG’s] direct-to-consumer and superfan strategy,” the company invested in and partnered with NTWRK and Complex<\/a> “to build a premium live-video shopping platform for superfan culture”.<\/p>\n

“This year will see us expanding our product offerings to fans, as we continue to redefine the ‘merch’ category and create superfan collectibles and experiences,” writes Grainge in today’s letter.<\/p>\n

“Some of this will be done through our current partners and some through our own D2C channels, which we will continue scaling to meet the massive appetite of fans.”<\/p>\n

<\/div> <\/div> <\/p>\n

Sir Lucian Grainge also highlights the progress made on UMG’s artist-centric strategy, which he originally introduced<\/a> in January 2023.<\/p>\n

“When we introduced that strategy two years ago, we immediately went to work with our partners to make it a reality,” writes Grainge.<\/p>\n

“In a matter of months, we reached agreements in principle on a number of issues: increasing the monetization of artists\u2019 music; limiting the gaming of the system by protecting against fraud and content saturation; and focusing on the value of authentic artist-fan relationships, inspiring the development of more engaging consumer experiences, including specially designed new products and premium tiers for superfans.<\/p>\n

“Platforms as diverse as Deezer, Spotify, TikTok, Meta and most recently Amazon, have adopted artist-centric principles in a wide variety of ways\u2014 principles that benefit the entire<\/em> music industry from DIY to independent to major label artists and songwriters.”<\/p>\n

Grainge adds the company’s “work in driving these artist-centric principles will continue in 2025”.<\/p>\n

<\/div> <\/div> <\/p>\n

Elsewhere in his letter, Grainge confirms that in 2025, “as we did in 2024, this year we will continue to aggressively grow our presence in high potential markets through organic A&R<\/strong>, artist and label services agreements, and M&A<\/strong>“.<\/p>\n

“we\u2019re not a financial institution that views music as an ‘asset.’\u00a0 And we\u2019re not an aggregator that views music as ‘content.’ We are a music company built by visionary music entrepreneurs.”<\/p>\n

Sir Lucian Grainge<\/span><\/p><\/blockquote>\n

Grainge also explains that the “reason so many independent music entrepreneurs actively seek to partner with UMG when they have more alternatives than ever before” is because “We provide what they\u2019re seeking.”<\/p>\n

He adds: “After all, we\u2019re not a financial institution that views music as an ‘asset.’\u00a0 And we\u2019re not an aggregator that views music as ‘content.’\u00a0 We are a music company built by visionary music entrepreneurs.\u00a0 For us, music is a vital \u2014 perhaps the vital \u2014 art form.<\/p>\n

“Artists and the music they create are our lifeblood.\u00a0 We\u2019re proud both to invest in businesses that can and do support today\u2019s leading music entrepreneurs and to advocate for the policies and practices that are designed to protect and grow the entire music ecosystem.”<\/p>\n

Read Sir Lucian Grainge’s note in full below:<\/p>\n

\n

Dear Colleagues:<\/p>\n

When I wrote my first letter about the L.A. fires, I said that my annual New Year\u2019s note would have to come later than usual.\u00a0 And so here it is…<\/p>\n

Last night\u2019s Grammy awards served as a perfect metaphor for our company\u2019s performance in 2024 \u2014 breaking new artists and taking our superstars to new heights.\u00a0 In fact, last night, UMG artists and songwriters brought home more Grammys than ever before\u00a0<\/em>in our history.\u00a0 You can read more about that\u00a0here<\/a>.<\/p>\n

Thanks to your day-in, day-out dedication and hard work, we accomplished so much together in 2024 and are positioning ourselves for another great year of success.\u00a0 I\u2019ll sum up some of UMG\u2019s stunning achievements last year and give you a glimpse of what we plan for this year.<\/p>\n

Our company\u2019s fundamental building block is artist development\u00a0<\/strong>and in 2024, investment in new talent continued to produce spectacular results around the world.\u00a0 Consider the\u00a0following facts:<\/strong>\u00a0that UMG broke the two biggest artists in the world last year in Sabrina Carpenter and Chappell Roan; Taylor Swift was the most streamed\u00a0globally<\/em>\u00a0on Spotify, Amazon and Deezer; and Apple Music named Billie Eilish its Artist of the Year.<\/p>\n

And that a UMG recording artist who is also signed to UMPG as a songwriter had the No. 1 song\u00a0globally<\/em>\u00a0on the year-end lists for both Apple Music (Kendrick Lamar) and Spotify (Sabrina Carpenter).\u00a0 Or that UMG had four of the Top 5 artists\u00a0globally<\/em>\u00a0on Spotify with Taylor Swift (No. 1), The Weeknd, Drake and Billie Eilish; eight of the Top 10 albums (Taylor Swift\u2019s\u00a0The Tortured Poets Department<\/em>\u00a0at No. 1); five of the Top 10 songs (Sabrina Carpenter\u2019s \u201cEspresso\u201d at No. 1), and six of the 10 Most Viral songs (Lady Gaga and Bruno Mars\u2019 \u201cDie With A Smile\u201d at No. 1).<\/p>\n

Or consider that in the U.S., UMG had\u00a0all<\/em>\u00a0Top 3 label groups according to Billboard (Republic, Interscope and Universal Music Enterprises) not to mention four of the Top 5 artists and eight of the Top 10 albums, including all of the Top 5 \u2013 Taylor Swift (No. 1 and No. 2), Morgan Wallen, Noah Kahan and Drake. And on YouTube, six of the Top 10 songs (Kendrick Lamar at No. 1) and two spots on the Trending Topics Top 10 across all content categories in 2024 (Kendrick Lamar and Sabrina Carpenter).<\/p>\n

You can read more of our remarkable achievements around the world at the end of this note, but as you can already see, in 2024, our momentum only grew.\u00a0 Also, these were achievements not only by a few superstars, but also by dozens of artists from around the world\u2014both developing and established\u2014performing in multiple genres, styles and languages.<\/p>\n

Achievements like these don\u2019t just happen.\u00a0They are the culmination of maintaining a\u00a0clear vision<\/em>\u00a0of who we are, what we do and where we\u2019re going, then\u00a0executing on that vision<\/em>,\u00a0maintaining momentum<\/em>\u00a0and, of course, at the heart of it all, having some\u00a0absolutely incredible music<\/em>\u00a0to work with.\u00a0 And last year those achievements were greatly assisted by our continuing self-reinvention, reshaping our organizational structure, re-building our teams and refining our strategy.<\/p>\n

A vision which boldly and, when necessary, quickly adapts to an ever-changing world.\u00a0 For example, in early 2024 we executed on our vision to realign our U.S. label structure, and within months we were operating with greater agility and efficiency.\u00a0 We then saw something exceptional take place: UMG had its best U.S. performance in six years, according to Luminate.\u00a0 I\u2019m confident that our realignment will yield still further momentum around the world and that the achievements of our artists and songwriters\u2014as well as UMG\u2019s success\u2014will reach new heights.<\/p>\n

\n

In 2024, we continued to lead the media industry in our embrace and advancement of \u201cResponsible AI.\u201d\u00a0 Three recent examples of that initiative include our agreements with SoundLabs, ProRata and KLAY\u2014companies that are taking unique approaches to the rapidly evolving AI space through new technologies that provide accurate attribution and tools to empower and compensate artists.<\/p>\n

Our leadership also includes our commitment to the enactment of Responsible AI public policies, fighting back against so-called text and data mining copyright exceptions and other misguided and ill-intentioned proposals that would enable what I will euphemistically call the unauthorized exploitation of creators\u2019 work.\u00a0 Instead, we will work towards legislative \u201cguardrails\u201d to ensure the healthy evolution and growth of AI that mutually serves creators, consumers and responsibly innovative technology players.<\/p>\n

In my note last year, I said that 2024 would see us once again attracting the brightest entrepreneurs, expanding our existing relationships with other such talents and investing more resources into providing a full suite of artist services businesses to independent labels around the world.\u00a0 And we did exactly that.\u00a0 We acquired the remaining share of [PIAS] two years after taking an initial stake in the company and brought its highly respected co-founder Kenny Gates into our family.\u00a0 And we grew our geographic footprint.\u00a0\u00a0<\/strong>One example:\u00a0<\/strong>our partnering with and investing in Mavin Global, whose founders Don Jazzy and Tega Oghenejobo continue to lead that company as well as, going forward, all of UMG\u2019s business in Nigeria.<\/p>\n

Just last month, Virgin announced it entered into an agreement to acquire Downtown Music Holdings, which includes FUGA, Downtown Artist & Label Services, Curve Royalties, CD Baby, Downtown Music Publishing and Songtrust.<\/p>\n

The reason so many independent music entrepreneurs actively seek to partner with UMG when they have more\u00a0alternatives\u00a0than ever before is that we provide what they\u2019re seeking: the most innovate creatives and finest resources\u00a0that will advance the careers of their artists and achieve their financial goals\u00a0within\u00a0a culture that respects artists and their music.\u00a0 After all, we\u2019re not a financial institution that views music as an \u201casset.\u201d\u00a0 And we\u2019re not an aggregator that views music as \u201ccontent.\u201d<\/p>\n

We are a\u00a0music<\/em>\u00a0company built by visionary music entrepreneurs.\u00a0 For us, music is a vital\u2014perhaps\u00a0the<\/em>\u00a0vital\u2014art form.\u00a0 Artists and the music they create are our lifeblood.\u00a0 We\u2019re proud both to invest in businesses that can and do support today\u2019s leading music entrepreneurs and to advocate for the policies and practices that are designed to protect and grow the entire music ecosystem.<\/p>\n

And finally, one of 2024\u2019s announcements of which I am proudest is the formation of our Global Impact Team, whose mission is to enact positive change in our industry and in the communities in which we serve.\u00a0 This cross-functional group of executives brings a deep understanding of our global organization and will develop and execute strategies to tackle a variety of critical issues, including: equality; mental health and wellness; food insecurity and the unhoused; the environment; and education.<\/p>\n

By dovetailing seamlessly with our goals and those of our artists, we can promote and even catalyze beneficial and authentic changes where they are needed.\u00a0 Recently, in the wake of the terrible Los Angeles wildfires, the Impact Team mobilized, offering support to those affected, activating a multi-pronged relief effort to help both our own employees and the broader L.A. communities.<\/p>\n

\n

Before I get to what lies ahead for 2025, let me first provide you with some context as to the enviable position UMG holds.<\/p>\n

UMG is a global creative enterprise at the center of an ecosystem of\u00a0hundreds<\/em>\u00a0of digital partners.\u00a0 And while we\u2019ve consistently been the music industry\u2019s leader since the advent of the streaming era\u2014an era whose dawn we were instrumental in ushering in\u2014the leadership posture among our DSP\u00a0partners<\/em>\u00a0has undergone some significant changes.<\/p>\n

For example, one of our fastest-growing subscription partners, YouTube, is also one of the most recently launched.\u00a0 We expect more inevitable jockeying for the leadership position among standalone platforms as well as among the music services that are divisions of trillion-dollar valuation tech companies.<\/p>\n

But, even though we are a relative minnow in comparison to a trillion-dollar tech company, the music of our incredible artists and songwriters enables us to exercise outsized influence on the global stage and serve as a critical catalyst in fostering a\u00a0truly<\/em>\u00a0competitive commercial marketplace for music.\u00a0 We will keep using our position to promote a healthy and sustainable music ecosystem that benefits\u00a0all<\/em>\u00a0artists at\u00a0all<\/em>\u00a0stages of their careers.<\/p>\n

\n

Now to 2025 \u2026 starting with our artist-centric strategy:<\/p>\n

When we introduced that strategy two years ago, we immediately went to work with our partners to make it a reality.\u00a0 In a matter of months, we reached agreements in principle on a number of issues: increasing the monetization of artists\u2019 music; limiting the gaming of the system by protecting against fraud and content saturation; and focusing on the value of authentic artist-fan relationships, inspiring the development of more engaging consumer experiences, including specially designed new products and premium tiers for superfans.\u00a0 Platforms as diverse as Deezer, Spotify, TikTok, Meta and most recently Amazon, have adopted artist-centric principles in a wide variety of ways\u2014principles that benefit the\u00a0entire<\/em>\u00a0music industry from DIY to independent to major label artists and songwriters.<\/p>\n

Our work in driving these artist-centric principles will continue in 2025.\u00a0 Not only do we want to ensure that artists are protected and rewarded, but we\u2019re also going after bad actors who are actively engaged in nefarious behavior such as large-scale copyright infringement.\u00a0 To that end, we\u2019re setting forth the best practices that every responsible platform, distributor and aggregator should adopt: content filtering; checks for infringement across streaming and social platforms; penalty systems for repeat infringers; chain-of-custody certification and name-and-likeness verification.<\/p>\n

If every platform, distributor and aggregator were to adopt these measures and commit to continue to employ the latest technology to thwart bad actors, we would create an environment in which artists will reach more fans, have more economic and creative opportunities, and dramatically diminish the sea of noise and irrelevant content that threatens to drown out artists\u2019 voices.<\/p>\n

\n

In September, during our Capital Markets Day presentation, I described what would constitute the next era of streaming\u2014Streaming 2.0.\u00a0 Built on a foundation of artist-centric principles, Streaming 2.0 will represent a new age of innovation, consumer segmentation, geographic expansion, greater consumer value and ARPU growth.<\/p>\n

I\u2019m pleased to report that the Streaming 2.0 era has arrived.\u00a0 We recently announced a new agreement with Amazon that includes many of these elements, and just last week, we announced a multi-year agreement with Spotify.\u00a0 We expect that similar agreements with other major platforms will be coming in the months ahead.<\/p>\n

In 2025, we\u2019ll also be reaching out in new ways to engage fans.\u00a0 In addition to listening to their favorite artists\u2019 music, fans want to build deeper\u00a0<\/strong>connections\u00a0<\/strong>to artists they love.\u00a0 Last year,\u00a0in accelerating our direct-to-consumer and superfan strategy, we formed a strategic partnership and became an investor in NTWRK and Complex to build a premium live-video shopping platform for superfan culture.\u00a0\u00a0This year will see us expanding our product offerings to fans, as we continue to redefine the \u201cmerch\u201d category and create superfan collectibles and experiences.\u00a0 Some of this will be done through our current partners and some through our own D2C channels, which we will continue scaling to meet the massive appetite of fans.<\/p>\n

After years of working to aggressively build a healthy commercial environment for artists and music\u2014one in which we have reached approximately 670 million subscribers\u2014we will be laser-focused in 2025 on continuing to expand the ecosystem and improve its monetization.<\/p>\n

\n

As we did in 2024, this year we will continue to aggressively grow our presence in high potential markets through organic A&R, artist and label services agreements, and M&A.<\/p>\n

The work that lies ahead of us will bring challenges, no doubt about that.\u00a0 But we will meet those challenges with pride and a sense of privilege, because no other form of creative expression is more fundamental to human existence than music.\u00a0 By that, of course, I mean\u00a0real\u00a0<\/em>music created by\u00a0human<\/em>\u00a0artists.<\/p>\n

So let me leave you with this:<\/p>\n

Some will try to disrupt our business or criticize us.\u00a0 That we know.\u00a0 It comes with being in the most competitive market that music and music-based entertainment has ever seen, and it comes with being the industry\u2019s leader and primary driving force.\u00a0 But our vision and our ability to consistently execute gives us the momentum to\u00a0continue\u00a0to succeed and grow.\u00a0 Our global worldview and the internal competition fueled by our entrepreneurial spirit breeds innovation.<\/p>\n

Our passion for finding new and better ways to bring music to the world will keep us ahead of competitors and new entrants alike.\u00a0 We\u2019ll continue to do what we do because what we do and how we do it is impossible to replicate.\u00a0 Our culture and our people\u2014you<\/em>\u2014are our superpower.<\/p>\n

I can\u2019t wait to see and\u00a0hear<\/em>\u00a0what this year brings, and I am thrilled to be on this journey with you.<\/p>\n

Let\u2019s go!<\/p>\n

Lucian<\/p>\n

\n

2024 UMG Highlights<\/u><\/p>\n

Globally in 2024, UMG had:<\/p>\n

    \n
  • On Spotify\u00a0Wrapped<\/em>: Six of the Top 10 global artists, with Taylor Swift at No. 1 and the Weeknd at No. 2, as well as Drake, Billie Eilish, Ariana Grande and Feid; five of the Top 10 songs with Sabrina Carpenter\u2019s \u201cEspresso\u201d at No. 1; and eight of the Top 10 albums with Taylor Swift at No. 1 with\u00a0The Tortured Poets Department: The Anthology<\/em>.<\/li>
  • On Apple Music: Six of the Top 10 most-streamed songs with Kendrick Lamar at No. 1, and Billie Eilish named Artist of the Year.<\/li>
  • On Deezer: Four of the Top 5 artists with Taylor Swift at No. 1.<\/li>
  • On Vevo: Eight of the Top 10 artists, including Karol G at No. 1 for the fourth consecutive year.<\/li>
  • On Amazon Music: Taylor Swift was the Top artist and\u00a0The Tortured Poets Department<\/em>\u00a0was the Top album. UMG also had seven of the Top 10 most requested artists on Alexa with Taylor Swift at No. 1, followed by Eminem, Morgan Wallen, Olivia Rodrigo, Karol G, Billie Eilish and Drake.<\/li><\/ul>\n

    And to break it down further by region:<\/p>\n

      \n
    • On the Billboard 200 year-end chart: Eight of the Top 10 albums, including all of the Top 5 (Taylor Swift \u2013\u00a0The Tortured Poets Department<\/em>; Taylor Swift \u2013\u00a01989 (Taylor\u2019s Version)<\/em>; Morgan Wallen –\u00a0One Thing At A Time<\/em>; Noah Kahan \u2013\u00a0Stick Season<\/em>; Drake \u2013\u00a0For All The Dogs<\/em>).<\/li>
    • Republic was named Billboard\u2019s top label group for the fourth consecutive year, while UMG also had the No. 2 and No. 3 label groups with Interscope and Universal Music Enterprises.<\/li>
    • On Spotify\u00a0Wrapped<\/em>: Six of the 10 most streamed-artists in the U.S., with Taylor Swift at No. 1 and Drake at No. 2, as well as Morgan Wallen, Kendrick Lamar, The Weeknd and Metro Boomin; seven of the 10 most-streamed songs, with Sabrina Carpenter at No. 1 and Kendrick Lamar at No. 2; and eight of the 10 most-streamed albums with Taylor Swift at No. 1 with\u00a0The Tortured Poets Department: The Anthology.\u00a0<\/em><\/li>
    • On Apple Music: Three of the Top 5 songs in the U.S. and 14 of the Top 20 with Kendrick Lamar at No. 1.<\/li>
    • On YouTube: Six of the Top 10 songs in the U.S., including Kendrick Lamar at No. 1.<\/li>
    • On TikTok: Five of the Top 10 artists in the U.S., including Sabrina Carpenter (No. 1), Ice Spice (No. 2), Billie Eilish, Olivia Rodrigo and KATSEYE.<\/li>
    • In the UK, UMG had seven of the Top 10 albums of 2024, including all of the top six (Taylor Swift, The Weeknd, Sabrina Carpenter, Noah Kahan, Billie Eilish, Chappell Roan). For singles, UMG had three of the Top 5, including Noah Kahan at No. 1, and six of the Top 10. UMG held the No. 1 spot on the singles chart for 42 weeks.<\/li>
    • Also in the UK, EMI was the No. 1 label for the third consecutive year.<\/li>
    • In Germany, UMG had five of the Top 10 albums of the year, including Taylor Swift and Billie Eilish at No. 1 and No. 2. UMG also had five domestic breakthrough artists with Jazeek, 1986zig, twenty4tim, Milano and Berq.<\/li>
    • In Japan, UMG had five of the Top 10 singles on Billboard Japan\u2019s year-end Hot 100 chart, including four singles from Mrs. GREEN APPLE, who also won the Grand Prize at the Japan Records Awards for the second consecutive year.<\/li>
    • In Australia, UMG had 17 of the Top 20 albums including all of the Top 5 (two albums from Taylor Swift, Billie Eilish, Sabrina Carpenter, The Weeknd). On the singles chart, UMG had six of the Top 10 songs for the year.<\/li>
    • In France, albums from 12 different artists hit No. 1 throughout the year and UMG had four of the Top 10 albums.\u00a0Stromae & Pomme\u2019s “Ma Meilleure Ennemie” broke the record for the most daily streams on Spotify from a French-language song.<\/li>
    • In Canada, UMG had all of the Top 7 albums (Taylor Swift, Noah Kahan, Morgan Wallen, The Weeknd, Sabrina Carpenter, Billie Eilish, Post Malone) and held the No. 1 position on the album chart for 41 weeks. On the singles chart, UMG had five of the Top 10.<\/li>
    • In Brazil, UMG had the top two songs of the year from\u00a0Felipe e Rodrigo\u00a0and\u00a0Lauana Prado and the top artist,\u00a0Henrique & Juliano.<\/li>
    • In Italy, UMG had six of the Top 10 albums with Tony Effe\u2019s\u00a0Icon<\/em>\u00a0at No. 1 and four of the Top 10 singles with Mahmood\u2019s \u201cTuta Gold\u201d at No. 1. UMG also had five domestic breakthrough artists (Boro, Kid Yugi, Mambolosco, Matteo Romano and Fabio Rovazzi).<\/li>
    • In the Philippines, UMG had the biggest breakthrough artist of the year with Dionela.<\/li>
    • In Vietnam, UMG had the No. 1 song on Spotify by Son Tung M-TP and the No. 1 song on Apple Music by Wren Evans. UMG artists also held the top three positions on the 2024 artists chart with Son Tung M-TP, HIEUTHUHAI and Wren Evans, while Evans topped the albums chart.<\/li><\/ul>\n

      Our Universal Music Publishing Group songwriters also performed spectacularly:<\/p>\n

        \n
      • On Spotify\u00a0Wrapped<\/em>, globally: UMPG had all of the Top 5 artists (Taylor Swift, The Weeknd, Bad Bunny, Drake, Billie Eilish) and seven of the Top 10; an interest in four of the Top 5 albums (Taylor Swift, Billie Eilish, Sabrina Carpenter, Ariana Grande) and eight of the Top 10; and four of the Top 5 songs.<\/li>
      • On Apple Music: UMPG had\u00a0an interest in\u00a0eight of the Top 10 most-streamed songs globally and seven of the Top 10 in the U.S.<\/li>
      • On TikTok: UMPG had three of the Top 5 artists in the U.S. with Sabrina Carpenter, Ice Spice and Billie Eilish.<\/li>
      • On\u00a0Billboard\u2019s list of Hot 100 Songwriters in the U.S., UMPG had three of the Top 5 with Taylor Swift (No. 1), Jack Antonoff (No. 2) and Kendrick Lamar.<\/li><\/ul>\n","protected":false},"excerpt":{"rendered":"

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