Who owns the future of music? 60 Black leaders took on Abbey Road

In late October 2026, Abbey Road Studios—an emblematic site in music history—hosted a pivotal gathering that raised questions about ownership and control within the music industry. This event brought together 60 Black professionals spanning music, sports, film, fashion, and technology. Convened by the Black Music Action Coalition (BMAC) and curated by Sharlotte Ritchie for Universal Music Group’s Global Impact Team, the dinner took place in Studio 2, a space steeped in almost a century of musical innovation.

Abbey Road Studios, originally established in 1931 to reduce EMI's reliance on external suppliers, has long been a symbol of creative independence. The first public recording from its halls was by Paul Robeson, an American singer and activist, who captured "Rockin’ Chair" even before the studio officially opened. This legacy of pioneering spirit set a fitting backdrop for discussions focused on redefining Black participation in the music industry.

The BMAC event was part of the organization’s visit to London during Black History Month UK, emphasizing the ongoing need to advocate for fairness and equity for Black artists and executives. Willie “Prophet” Stiggers, BMAC’s President and CEO, traced a lineage of Black cultural contributions from Harlem’s jazz scene through the Windrush generation’s influence in Britain, culminating in the Caribbean Artists Movement of the 1960s. This historical context underscored the coalition’s central message: moving beyond mere influence to securing ownership and leadership within the industry.

Stiggers challenged attendees to envision a future where Black creatives not only fuel the industry’s output but also hold decisive power over its infrastructure and direction. He highlighted the dissatisfaction with contributing solely as talent under others’ control and urged the next generation to build and lead their own enterprises. The aspiration is to shift from seeking inclusion at existing tables to owning the very spaces where decisions are made.

Abbey Road itself embodies the principle of autonomy, having been created to break dependence on external technical resources. The symbolism of hosting this dialogue within its walls was not lost on participants. The studio has a storied history of ambitious projects, exemplified by Kanye West’s 2005 live recording with a full string orchestra in Studio 1. Similarly, BMAC’s gathering reframed recognition of Black artistry as insufficient without accompanying ownership rights and governance.

The event was one part of a broader agenda during the coalition’s London visit. Throughout the week, BMAC engaged with major record labels such as Universal Music Group, Sony, and Warner, as well as key industry stakeholders including the British Phonographic Industry (BPI), Live Nation, and EGA Distribution. These meetings aimed to place the coalition’s demands for equitable ownership at the forefront of industry conversations.

Looking forward, BMAC plans to continue this momentum with a high-profile event in Los Angeles: the BMAC x EGA Grammy brunch scheduled for February 2027. This upcoming gathering is expected to further amplify calls for structural change within the music business.

While the first recording from Abbey Road nearly a century ago was by a Black artist, the questions posed by BMAC today focus on who will own the future creations emerging from such legendary spaces. The coalition’s efforts highlight a critical shift from celebrating Black artists’ visibility to securing their rights as owners and decision-makers in an industry that has historically marginalized them.

Details regarding specific policy proposals or commitments made during the meetings remain limited. However, the symbolism of convening at Abbey Road and the breadth of influential figures involved signal a noteworthy moment in ongoing efforts to reshape power dynamics in the global music landscape.