Sam Fender and Olivia Deans Record-Breaking UK Chart Run Highlights Need for More British Artists, Says MMF CEO
Sam Fender and Olivia Dean have just rewritten the Official UK Singles Chart, pushing their duet “Rein Me In” to the top spot for an unprecedented 20 consecutive weeks. The single, released on 20 June 2025 as the sixth track from Fender’s third album People Watching, eclipsed the 1991 record set by Bryan Adams’ “Everything I Do (I Do It For You)”, and now stands as the longest‑running chart‑topper in UK history.
The achievement has shone a spotlight on the composition of the UK singles chart itself. Annabella Coldrick, chief executive of the Music Managers Forum (MMF) and celebrating a decade in the role, noted that only about 20 % of the chart’s entries are British—a sharp decline from the figures seen a decade or two ago. In her remarks, Coldrick praised Fender, Dean and their managers, saying, “their success is amazing… because they’ve been together for such a long time and they are beautiful stories.” She added that the achievements of artists such as Harry Styles and Charli XCX “realiseable because of a US presence,” but that “getting to that level in the UK alone… is increasingly difficult.” Coldrick’s comments came ahead of the 2026 Artist & Manager Awards, scheduled for 18 November.
Coldick has long argued that streaming dominates how listeners discover music, and that algorithmic recommendation engines on services like Spotify tend to push the most‑consumed tracks—largely American. She warned, “We’re not hearing British music, because streaming services are largely recommending the most‑consumed music, which is mostly American.” To address this imbalance, she is working with streaming platforms to push for a more balanced representation of domestic artists.
The economic case for music managers has also been highlighted. MMF’s independent research, released in September 2025 and conducted by RMR Research, Jem Associates and The Hub, found that managers generate an additional £57 million of economic impact for the UK music industry. The study concluded that for every £1 invested in managers, £8 is generated for the wider sector, and that managers add £714 million in value to the UK music business. Coldrick stressed that while managers are respected by the wider industry, “they have not received remuneration in many cases.” She cited the research as evidence that “having a great manager saves time and effort and makes jobs more productive.” The MMF’s mission, she said, is “to be as representative as we can of British music managers and help them have long‑term, sustainable careers.”
Coldick also reflected on how the streaming landscape has evolved. “Everyone was absolutely obsessed with Spotify and streaming 10 years ago and now it almost feels like we’re going into a post‑streaming era,” she observed. Managers are increasingly turning to offline community building and direct fan engagement, moving away from the “instant fame” culture that emerged during the coronavirus years.
The record‑breaking run of “Rein Me In” has underscored the hurdles new UK artists face. Coldrick noted, “New domestic music really struggling to break through… acts never get to that point where they’re earning a sustainable income.” She pointed out that the success of artists who built a US presence first—such as Harry Styles—suggests that UK artists may need to “springboard from here into the European countries and the US.” She also warned that “passive streaming is so dominant” that many artists are reconsidering streaming as a primary audience‑building strategy.
The upcoming Artist & Manager Awards will celebrate enduring partnerships between artists and managers. Coldrick highlighted the stories of Sam Fender’s manager Owain Davies and Olivia Dean’s manager Emily Braham, describing them as “brilliant managers who’ve developed their artists all the way through.” She noted that the awards provide an opportunity to recognize “the sticking power” that keeps artist‑manager relationships strong.
In short, the chart‑streak of Fender and Dean has brought the issue of British representation in the UK singles chart to the fore. Coldrick’s comments emphasize the need for streaming platforms to balance their recommendations, the economic importance of music managers, and the challenges UK artists face in building sustainable careers in a streaming‑centric industry. The MMF will continue to advocate for the interests of UK music managers and artists, and the Artist & Manager Awards on 18 November will spotlight the partnerships that have helped artists like Fender and Dean achieve unprecedented success.
