More than half of 18-24-year-olds were listening to physical music in 2024 across the UK, higher than any other age group, putting them right at the heart of the vinyl revival.
Research from music manufacturer Key Production found 59% listen to either vinyl, CD or cassette at least once a week.
Two in five 25-34-year-olds (41%) were also consuming physical formats, the third highest demographic after ages 45-54 (45%).
Despite physical purchases falling by almost 70% over the last decade, 2024 saw a year-on-year increase of 300,000 units, showing that perhaps the drop has plateaued.
BPI’s Director of Communications, Gennaro Castaldo, believes young people are craving a more tangible connection to the music they consume.
“You’ve got children now growing up informed by their parent’s record collections, they see it as a thing more akin to art than something functional,” he said.
“The rise of the superfan and global superstardom, such as Taylor Swift and her immense re-recordings, brings a desire to connect with these artists across all formats.
“They’ll stream it, they’ll buy it on vinyl, they might get a CD, cassette, go see the concert – they have an all-consuming relationship with the artist they love.”
Digital music has commanded the UK’s music landscape since the early 2000s, driven by growing demand for streaming platforms like Spotify and Apple Music.
In 2024, all time streams reached 183.1bn, an increase of more than 1000% since 2014.
We are living in an era characterised by choice, Casaldo argues.
He added: “With streaming, we dip in and play individual songs guided by algorithms and playlists, but physical music is a conscious act.
“It’s a real tribute to the appeal of old school consumption, and to the broad range of people who like to buy, own and collect it.”
Leading the charge is vinyl, with sales up by 9.1% in 2024, marking 17 years of uninterrupted growth.
A total of 6.7 million vinyl units were purchased last year, more than five times higher than in 2014.
Driven by the allure of vintage aesthetics and retro appeal, young people are also finding a deeper response to the hyper-digital world they inhabit.
Content creator Aquayemi-Claude Garnett Akinsanya, 26, from Richmond, sees vinyl as something ritualistic.
“The deliberate act of selecting a record, admiring its artwork, and experiencing the warmth of analogue sound fosters a deeper emotional connection,” he said.
“It’s an antidote to the often overwhelming speed of the digital era, creating moments of intentionality and nostalgia.”
The decline of CD sales has finally slowed in recent years, falling by just 3% in 2024 versus a 19% decrease in 2022.
Uk cassette sales are also stabilising, albeit much lower than other physical music, reaching their highest level in over two decades last year at 107,000 units.
Natalie Shepherd, 25, a TechBio sales manager from Islington, is drawn to vinyl for its high-quality and authentic listening experience.
“The sound is richer and I feel closer to the artist, especially artists that have been and gone,” she revealed.
“I feel connected to the times, it’s like living through their culture.”
New releases popular with younger demographics dominated the UK vinyl market in 2024, including Taylor Swift’s The Tortured Poet’s Department, the highest selling at 66,000 units and Fontaine D.C’s Romance (42,100 units), with Sabrina Carpenter and Chappell Roan also in the top five.
But nostalgia for past albums still linger, namely Oasis’s Definitely Maybe,which was the second highest selling vinyl album last year (50,000 units).
However, with vinyl’s resurgence comes questions of sustainability and its environmental impact.
Almost three quarters (71%) of 18-24-year olds are willing to pay more for their records if they have proven benefits to the environment, Key Production found, followed by 54% of ages 25-34.
Records are made from polyvinyl chloride (PVC) pellets melted and pressed into shape, with the vinyl grooves etched by a metal stamper.
Production companies and artists are increasingly moving towards eco-friendly packaging and designs, using lighter-weight and recycled materials or bio-sourced PVC.
Key Production’s CEO, Karen Emanuel, said: “There’s been a lot of discussion recently about the environmental footprint of vinyl production.
“As a B Corp, we know records can be produced more sustainably and most importantly, now we know younger listeners are willing to support this.”
But what of the future of vinyl amongst this demographic itself?
British musician Tom Speight believes the revival will continue, if labels and artists can make it special for fans.
“As an artist, producing on vinyl makes you think a lot more about track listing, artwork, building an album, so your work feels like a solid entity,” he said.
“Young people are craving some form of fandom to be a part of. Having the record of an artist you love is a badge of honour, you’ve gone that extra mile to support them.
“If we can keep the cost down, it’s definitely sustainable.”
ARTISTS LOVE VINYL TOO: Award-winning singer songwriter Tom Speight thinks demand will last (Credit: Bobby V).
“It might last, but it could also fizzle out, the bubble might burst,” he said.
Sternberg has seen an influx of young people visiting his shop in recent years, where he buys and sells mostly Blue Note and 60s records, but predicts their interest is but a passing trend.
“I’ve heard some younger generations just buy them to collect, but don’t actually play them!” he recalled in horror.
“My records are classics, not popular music, so if they get into that, it could become addictive.”
A fleeting trend or lasting shift in music’s ecosystem, vinyl’s place in the hearts of the young is secure – at least for this moment in time.
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