Global Merchandising Services is gearing up to celebrate some big musical moments over the coming months, including the Oasis Live ’25 Tour and Iron Maiden’s 50th anniversary this year, plus Motörhead’s 50th and Fender’s 80th anniversaries in 2026. LicensingSource.net catches up with Jens Drinkwater, Global Merchandising Services’ head of licensing, to find out more.
For those who don’t know you, can you provide an in-a-nutshell overview of Global Merchandising Services and its USP?
Global Merchandising is an independent, multifaceted business that goes beyond traditional licensing. While we offer top-tier licensing expertise and agency services, what really sets us apart is our end-to-end solutions – helping artists and brands maximise revenue through direct-to-consumer sales across live events, e-commerce and retail.
With decades of experience in sourcing, manufacturing and distribution, we have the infrastructure to take projects from concept to shelf, rather than relying solely on licensing deals. That’s a major differentiator, giving us the flexibility to create more tailored and profitable opportunities for our clients.
Music is obviously a specialism, but you also represent clients such as Beavertown Brewery. Are you consciously expanding into the lifestyle space?
Absolutely! While music is our foundation, we’re always looking at cultural touchpoints that align with fandom and lifestyle. The way people engage with brands has evolved; whether it’s music, craft beer or gaming, audiences want to connect in more immersive ways. Our expertise in merchandising and licensing means we can translate those passions into great products and experiences, whether for bands, brewers or beyond.
What does your role involve – and what do you most enjoy about it?
I lead the licensing team, setting direction across our music portfolio while also exploring new business opportunities. That involves working closely with our partners – both artists and brands – to develop creative strategies that expand their reach.
One of the best parts of my job is the variety. We collaborate with a diverse range of brands across different genres and industries, which challenges us to think outside the box and push boundaries. Every day is different, and that’s what makes it so exciting.
Sounds like you’ve got a lot going on this year! Could you talk us through your plans?
Last year was quite the year for us in terms of growth and we have a lot of big moments coming up this year.
Oasis’ return to the stage will arguably be the biggest event of the decade and marks the 30th anniversary of their second album, (What’s the Story) Morning Glory? We are having a lot of fun with new creative development, on-boarding partners around the world who never had access to the IP before and developing great collaboration partners. We have a huge wave of licensed merch, and new retail initiatives launching to support the tour.
Iron Maiden are celebrating their 50th anniversary and playing their biggest ever headline UK show at the London Stadium. It’s quite remarkable that a band with their incredible legacy continues to only get bigger as their fan base has swelled to embrace a multi-generational audience.
Leading into Fender’s 80th anniversary in 2026, we are building out long-term revenue opportunities that further reinforce the brand’s iconic lifestyle status.
For Mötley Crüe and Motörhead, we have multiple initiatives in development to support their anniversaries and new tours to be announced. It’s shaping up to be a landmark year, and we’re just getting started!
Can you tell us about your retail strategy?
We manage rights across multiple channels, ensuring we cater to every kind of fan and shopping experience. Last year, we serviced over 3,000 live shows worldwide and worked with hundreds of retail accounts, alongside third-party licensees who bring their own distribution channels.
Pop-up stores are a huge part of our strategy. We’ve done many over the years, but one of the biggest was One Direction’s ‘1D World’, where we launched 41 pop-up stores in cities including New York, Stockholm, Melbourne, Paris and Tokyo.
E-commerce is massive for us as well. We operate over 60 direct-to-consumer stores, designing exclusive products fans can buy directly from the artist.
Ultimately, it’s about meeting fans where they are and giving them multiple ways to engage with their favourite brands.
Design and product-wise, how do you keep in touch with what fans want? And with bands increasingly having diverse fan bases, is it harder to come up with a range of products that pleases everyone?
We work closely with artists to develop their merch ranges because they know their fan bases best. Their creative direction often sets the tone, and from there, we refine the product offerings based on market trends and audience insights.
We’re also seeing a growing demand for more inclusive and diverse merch options. I’d like to think we do a good job of pleasing the majority. It’s a balancing act, pleasing core fans while evolving with new audiences. But that’s part of the fun!
Are there any trends on the horizon that you’re keen to tap into?
Emerging tech like AI, AR and VR are creating exciting new opportunities for IP as consumer adoption becomes more mainstream. It is going to be very exciting to see how new and legacy brands can tap into that to connect to their audience.
One promising area for development is enhanced experiences for subscriber and fan club communities. Whether through paywalled content or à la carte offerings, these technologies can elevate fan engagement both at home and on the go – especially for dedicated superfans.
We hear a lot about how emerging artists are struggling to make a living because of streaming, and the cost of touring. Once the ‘legacy’ bands are gone, what do you think will come after?
It’s a big conversation. There’s no doubt that technology will play a role, but I don’t think live music is going anywhere. The success of something like ABBA Voyage, for instance, is based on harnessing technology to enhance fan engagement without replacing live shows entirely.
That said, new artists will need innovative ways to monetise their work. The challenge is finding ways to merge tech with live experiences, so that it complements, rather than replaces, the traditional music model.
Do you have any special plans for Expo that you can share with us? Which properties will you be highlighting?
We’ll be showcasing a lot of our major initiatives: touring, anniversaries, new albums, and more. Fender Guitar’s 80th anniversary in 2026 is a big focus, and we have some fantastic projects in the pipeline to celebrate it.
Beyond that, we’ll be announcing a partnership with a franchise that has quickly become one of the biggest series on the planet. Stay tuned!
