Equity and representation issues stand out sharply in the music business according to fresh data released March 17. UK Music‘s report shows that despite massive contributions from Black creators, support structures have not matched their influence. Only 22 percent of senior roles go to Black, Asian or minority ethnic workers. Black professionals point to persistent unfairness in contracts, pay, funding access and general backing within the sector.
Titled Black Music Means Business: Driving Economic Growth In The UK, the document marks Europe’s first major calculation of Black recorded music’s footprint between 1994 and 2023. It reveals these artists delivered 80 percent of all UK music revenue during the period – a total of £24.5 billion from an industry pot of £30 billion. The findings frame Black music as a central force in the UK’s commercial music landscape over those 30 years.
Tom Kiehl, Chief Executive of UK Music, explained: “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.” Ammo Talwar MBE, Chair of the UK Music Diversity Taskforce, had this to say: “The report should give us great optimism for the future of Black British music. However, this phenomenal cultural force must be nurtured. 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.“
Lorde has taken control as a fully independent artist. The New Zealand singer shared the update in voice memos to fans on March 18, revealing her deal with Universal Music Group, first inked when she was 12, concluded last December. The artist broke through in 2013 with her debut Pure Heroine and its standout single ‘Royals‘, scoring Grammys including Song of the Year. That success set the stage for a career marked by introspective songwriting and a unique place in alternative pop.
In those messages, Lorde expressed genuine appreciation for her time at the label, calling the people there incredible. Yet she pointed out the odd position of having pre-sold her creative work as a child before fully understanding the terms or her own artistic direction. She emphasized the importance of this pause, noting she needed a moment where nothing tied to her output was being bought or sold. The singer indicated she will probably enter into another agreement down the line, and it could even be back with Universal Music Group, but this break feels essential right now.
As she readies herself for the Ultrasound World Tour, Lorde spent part of the memos chatting about everyday stuff like diving into strange books and playing chess against Addison Rae. Lorde had this to say: “I adore them, they’re incredible people, and I have had an amazing experience with them. But the truth is that a 12-year-old girl pre-signed and pre-sold her creative output before she knew what it would be like and before she knew what she was signing away. When I see an opportunity for a clean slate I take it. And it does feel different. It sounds like it wouldn’t but it really does. I feel a feeling of openness and possibility and am inspired.“
Lunar & The Deception released their first album The Somnambulist on March 6, 2026 through X-Ray Sound, alongside the lead single ‘Ezeru Kazpam’. The band centers on vocalist Britt Xyra Dusk, who grew up between Durban and Nelspruit before moving to the UK. She also handles the group’s visuals, which are rooted in ancient deities, sorcerers, and warrior imagery drawn from her years in professional costume design. Percussionist Hedge Seel developed his playing style during extended time in Southeast Asia and India. Thomas Hammond contributes dub production and Greg Chapter serves as sound engineer. The group built early momentum by opening for Pussy Riot at Glastonbury Festival in 2016 and 2019, playing London venues, and appearing at the 2022 Sync Summit Music Conference. Their previous single ‘Your Monsters’ premiered on LOCK Magazine and received support from Nieuweplaat, followed by Artist of the Week recognition from Richer Sounds and a 9/10 score in Powerplay Magazine. They worked with co-producer Michael Rendall, whose résumé includes The Orb, Peter Murphy, and Killing Joke, to shape an album that sits between indie rock, dream pop, darkwave, gothic, and neo-psychedelia, drawing from Led Zeppelin, Radiohead, Tool, Evanescence, Portishead, and Esben & The Witch.
The Somnambulist drifts effortlessly through its influences, weaving atmospheric electronics with pulsing rhythms and richly textured guitars to create a sound that feels intense and intimate. The album opens with ‘Ezeru Kazpam‘, where gentle piano chords set the stage for a spoken-word passage challenging society’s fixation on wealth, before Dusk’s haunting, echo-laden vocals emerge. As the track unfolds, a steady beat and surging guitars build a dense, swirling crescendo that brushes against the edges of shoegaze. In its final moments, the song strips away its layers, leaving only the piano and ghostly echoes behind.
Lunar & The Deception had this to say on the album: “We recorded the album in a secluded studio in Oxfordshire called Woodworm Studios. Originally set-up by David Pegg of Fairport Convention, it is now run by engineer Stuart Jones who did a meticulous job of recording the album with the added benefit of the unique acoustics due to the high ceilings – the studio having been converted from an old church.”
The Somnambulist Tracklist
1. No More Secrets 2. Ezeru Kazpam 3. Your Monsters 4. The Great Bison 5. Storm 6. Eclipse 7. The Way Down. 8. We Looked The Other Way
French electronic duo Krono unveiled their remix of musician, producer, and storyteller Jairic’s ferocious track, ‘Don’t Let Me Put A Track On You’, on February 20th, 2026 via Rich Air Music. The striking remix premiered on electronic music tastemaker YourEDM. Krono are a DJ and producer duo made up of brothers Mickaël and David Couderc, known for their world-class remixes that blend deep house, melodic house, and electronic pop. Inspired early on by French touch acts like Daft Punk, they began releasing music online before breaking through internationally with their remix of Aaron Smith’s ‘Dancin’, which went viral and has since amassed over one billion streams across platforms, becoming Aaron Smith’s most streamed song and one of the most recognizable house remixes of the last decade.
Their success led to releases and remixes on major labels such as Armada Music and Ultra Music, alongside support from influential DJs including Tiësto and Pete Tong. Krono have also earned industry recognition through award nominations and high-profile collaborations with the likes of Lost Frequencies, Klingande, VanJess and more, solidifying their reputation as globally influential producers in modern house music, with coverage from respected publications including YourEDM, Vibe, Dancing Astronaut, Red Bull Music and Notion Magazine.
Born and raised in Detroit, Michigan and currently based in Cannes, France, renegade rapper Jairic has played a series of high-impact performances, including exclusive sets at Château Les Alouettes in Cannes and Villa Balbiano on Lake Como, as well as a featured live appearance at the Paris premiere of the short film Azur. Influenced by Nas, Wu-Tang Clan, Detroit’s underground, classic funk, 60s rock, and film scores, Jairic’s work blends lyrical weight with genre-defying sonics, drawing nearly 2 million streams across platforms.
The original track, ‘Don’t Let Me Put A Track On You’, taken off Jairic’s 2025 EP n=40, is a ferociously defiant alternative rap number showcasing Jairic’s fearless lyricism and raw energy, moving from a stirring, gritty opening to a warm vocal bridge before snapping back into a striking hip-hop spectacle. The recently released EP received support from esteemed tastemaker publications Wonderland Magazine, NOTION, CLASH Magazine, and EARMILK, as well as landing NPR Music radio support.
Krono’s take on the track, sure to entice fans of Eminem, Kid Cudi and Run The Jewels, saturates the original with muscular bass, hefty percussion and melodic synths, warping Julie Weber’s catchy pop vocals into an earworm hook while Jairic’s verses shine through, their grit contrasting stylishly the remix’s electronic pop sensibilities.Speaking on the remix, Krono remarked: “The remix of “Don’t Let Me Put a Track on You” takes a sharp pop-electronic direction, rooted in a contemporary aesthetic driven by deep bass and synths drawing from French Touch foundations, with influences blending Ed Banger and Daft Punk. Melodic synths bring an accessible, modern feel, while Jairic’s energetic rap energizes the track without breaking its pop balance.”
