Refugee Week 2025: Spotlight on Artists with Refugee and Migrant Roots

Refugee Week is the world’s largest arts and culture festival celebrating the contributions, creativity, and resilience of refugees and people seeking sanctuary. Founded in the UK in 1998 and held annually around World Refugee Day (20th June), it has since grown into a global movement with events and initiatives taking place across the world.

Refugee Week has evolved into an international movement, with events spanning the globe. To discover events near you or to connect with local, regional, or international organisers, visit https://refugeeweek.org.uk/contact/national-and-regional-contacts/

To mark this year’s Refugee Week, we’ve put together a list of artists connected to refugee and migrant communities. While not all of them are refugees themselves, their work often draws from lived experiences—whether personal or inherited through family and community.

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Anaiis Photo Credit: Alex Waespi

Anaiis

French-Senegalese artist Anaiis grew up between continents, moving from Toulouse to Dublin and Dakar before settling in Oakland, California. She studied at Tisch School of Arts in New York before relocating to London to pursue her music career. Her work is self-reflective and created in pursuit of a collective healing. 2024 sees anaiis add to her extensive list of collaborations with a joint mini-album with Brazilian Group Grupo Cosmo, including features from Luedji Luna, and Sessa - before a stunning new solo album in Fall 2025.

How has your cultural heritage influenced your artistic practice? 

My cultural heritage plays an important role in my work in the way I present and relate, as someone who lived in my places across the diaspora and studies blackness and belonging from different cultural viewpoints, a lot of my work seeks to create visibility and to tell these stories.

I do so both visually (OPENHEARTED film + B.P.E video) and also sonically by bringing in sounds from the places which I come from. My hope is to empower and inspire people who come from a similar heritage as me. 

This year’s Refugee Week theme is “Community as a Superpower” — what does this mean to you?

I think as soon as we start to move away from principals and practices of individualism, capitalism has less of a grip on us. Community becomes our wealth, our power, our safety, our home, our sense of belonging, our abundance. Together we are able to create beyond our imaginations and to reach further without becoming emotionally or resource depleted. The traditions and practices of where I come from are very community reliant in the most beautiful way and I try to remember to put these principles in practice in my Europeanised current living.

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Auclair Promo Cropped by Dark Angel Services

Auclair

British-Rwandan music and sound artist and composer. Auclair’s work explores rhythm, voice and electronica - treating everyday life like new mythologies and taking an embodied approach to exploring ideas with sound. 

Alongside a series of releases, recent commissions include In Solidarity with Striking Workers for the London Sinfonietta; Munganyinka is a Transformer for The Riot Ensemble and RUZUNGUZUNGU, commissioned by ISSUE Project Room in New York for their With Womens Work series, across these last two works I play with ideas around non-linear time, memory, ritual, grief, language/cadence, architecture and Rwandan folklore.

Collaborations include a choral reimagining of the Egba Market Revolt protest songs for Onyeka Igwe’s No Archive Can Restore This Chorus of (Diasporic) Shame; 5-channel exhibition soundscape All power emanates from the land with Jessica Ashman; scoring audio-visual and dance works with Yewande YoYo Odunubi for Calling the Body to attention; live re-score of Black Orpheus with Charlie Dark; working with pioneering Rwandan drum ensemble Ingoma Nshya; multi-sensory concert for blindfolded audience The Sensory Score; choral sound piece about bees, The Swarm; In Waves for the Roundhouse Choir; community multi-arts residency Co-Create: Walls on Walls; experimental vocal ensemble Blood Moon Project and live film score collective INVITATION TO LOVE.

Auclair’s latest EP Giramata is out now on Amorphous Sounds.

In relation to your cultural heritage, where have you drawn artistic influence and inspiration from? 

I’m dual heritage Rwandan and British and grew up in West London, around a lot of diasporas exploring new lenses and expressions for their cultures. I remember poring over rare live recordings of Rwandan and Burundian drumming and clapping songs, the whole region has an incredible artistic tradition.

I've always been drawn to the kind of complex polyrhythms, interesting time signatures and stick drum sounds I heard. I think you can hear that in the music I make. I'm so grateful that I got to learn a piece and work with Rwandan drumming ensemble Ingoma Nysha a couple of years ago in Butare. It was one of the hardest pieces of music I've ever learnt, it gave me so much, really opened my imagination and a feeling of connection.

This year's refugee week theme is 'community as a superpower' - what does this mean to you?

Oooof such a big question! So many ways to answer this, but for me it is in actions, shared values, care and finding ways to move with each other. The idea of it as a superpower is really potent right now - at a time where organising as a collective is the only way to resist systems of oppression and actualise the kind of world we want to live in.

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douniah Photo Credit: Elena Cremona

Douniah

douniah is an interdisciplinary artist exploring waves of sound and poetry. Her sound is heavily influenced by Black American music, North African Gnaoua music and everything in her mom's cassette collection while growing up between Hamburg and Agadir. With a strong, reflective voice, she sheds light on herself and her surroundings, creating art that resonates and lingers—a thoughtful echo for her audience to connect with.

How has your cultural heritage influenced your artistic practice?

I grew up listening to my mother's cassettes — Gnaoua music was the most played sound in our home in Hamburg. The call and response, the repetitive sounds that make you forget about time, the eight-minute-long songs that feel like prayers — poems that are easy to repeat yet so complex in meaning. I was exposed to spiritual music, music that liberates the mind, from a young age. It had a formative impact on how I approach making music.

This year’s Refugee Week theme is “Community as a Superpower” — what does this mean to you?

I think we've unlearned that this is where our power lies — in strengthening, encouraging, helping, and loving each other. In building trust, reminding ourselves to be patient, and allowing growth to happen. Teach – learn – teach – learn. Unlearning together, learning together, and learning from one another. Community is how we will survive this madness.

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Nour

Palestinian artist, DJ, and music producer whose work bridges sound, memory, and activism. In addition to crafting musical experiences, Nour is the creator of Refugee Chronicles, an ongoing documentary project that preserves the stories of Nakba survivors.

She is based in London, and is the Creative Director of Palestine House, where she curates events and workshops that foster community, deepen public understanding of Palestinian history and culture, and provide a vital space for Palestinians and allies to connect, create, and organise.

How has your cultural heritage influenced your artistic practice?

As a Palestinian, my heritage is at the heart of everything I create. My music and DJ sets are rooted in resistance, memory, and identity, often shaped by stories I document through Refugee Chronicles, which focuses on Nakba survivors. My work is a way to preserve our history, amplify our voices, and turn pain into creative expression. Whether I’m producing music or organising events at Palestine House in London, I see art as a powerful tool to connect, educate, and build solidarity.

What does Community as a superpower mean to you?

To me, community is everything. As Palestinians, we’ve survived through shared struggle, storytelling, and care for one another. Community means strength, healing, and resistance—it’s where we find power in our collective voice. Through my work, I try to create spaces where Palestinians and allies can gather, express themselves, and support each other. That togetherness is our superpower.

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Nū

Nū is an Ethiopian-Australian sound artist, vocalist and live coder whose work blends non-Western musical traditions, improvisation and Afrofuturism. Using the live coding program Sonic Pi, she creates immersive sonic worlds, weaving elements from ambient, jazz, R&B and electronic music. *Live coding is the real-time programming or manipulation of code to generate sound and/or visuals. 

Nū has performed at sold-out shows across Melbourne/Naarm, supported HTRK and Floodlights, and appeared at festivals including ArtsHouse BLEED, A3 and Sonder Music Festival. In 2024, she toured Asia performing in Kuala Lumpur and at the International Conference for Live Coding in Shanghai. In May, she embarked on an international tour with shows in Sydney, New York, London, Brighton, Berlin and Hobart. Her debut EP TECHNIFRO-185 is out now via Highly Contagious Records.

In relation to your cultural heritage, where have you drawn artistic influence and inspiration from?

I grew up working at my family’s Ethiopian restaurant, Ras Dashen, where I was immersed in the Amharic language and the sounds of Ethiopian instrumental music, jazz, and ballad classics. Today, I incorporate Amharic lyrics, Ethiopian pentatonic scales, and field recordings into my work. I’m especially drawn to the warmth, emotiveness, and joy found in Ethiopian music—qualities I continually strive to infuse into my practice. 

This year's refugee week theme is ‘community as a superpower’ - what does this mean to you?  

This means everything to me. Without my community of supportive friends and family, my life and career would not be the same. Even at the very start of my music journey, it was my friends who encouraged me to share my work, they were the ones who came to all my gigs. Now, whenever I want to create something new or enrich a concept with visuals, styling, marketing, or deeper knowledge, I rarely need to look beyond my community. We share our skills with each other and, in turn, we share our wins. My community IS my superpower.

Ms Mavy: Building a 100K+ Global Community with Afroplug

Harvard certified, MBA in marketing, and founder of Afroplug—a groundbreaking music tech platform with 100K+ users worldwide, built independently with no outside investment—Ms Mavy is shaping the future of Afro-diasporic music and culture.

“I’m originally from Guadeloupe and Cameroon, but I was born in France. At the age of 6, I moved back to Guadeloupe with my parents, and that’s where I truly built my first musical roots.” Her journey began with classical music—studying flute at 3 and piano at 6—eventually representing Guadeloupe in international competitions. But it was the sounds of Timbaland, Aaliyah, Afrobeats, and soulful electronics that pulled her into DJing and music production.

With a distinctive sound blending Afro, Future Beats, Latin, and Caribbean rhythms, Ms Mavy now captivates global audiences—and powers a community of creators through Afroplug. The platform has secured major partnerships with Splice, BandLab, LANDR, and more, offering tools, visibility, and opportunity to underrepresented artists worldwide

How did you get your start in music?

I started with flute at 3,  classical piano at 6 in Guadeloupe and was competing internationally representing Guadeloupewhen I was young. That world taught me discipline, but I needed more freedom. I fell in love with Local Music, Afro-Amercican Music (Timbaland, Aaliyah, Missy Elliot) lAfrobeats, hip-hop, and soulful electronic sounds—music that spoke to my identity. That’s how I naturally shifted into DJing and producing.

Your journey from a classical pianist in international competitions to a DJ, producer, and music-tech innovator is extraordinary. What was the defining moment that led you to create Afroplug?

The moment I realized there were barely any music tools that reflected our Afro-diasporic sound, I knew something was wrong. We were shaping global music culture but not being represented in the tech behind it. Afroplug was born out of that gap—with a clear mission: make our sound visible, valuable, and accessible : now we have 100 K + Clients organically in 4 years worldwide. including Producers of Beyoncé, Davido, Drake, Sean Paul & More.

What excites you most about how Afro-diasporic music is evolving on a global scale?

It’s finally being recognized for its true influence. Afro-diasporic music is not a trend—it’s a foundation. What excites me is how artists from different parts of the world are blending genres and building bridges between continents. The sound is becoming more diverse, innovative, and proud.

The intersection of music and technology is constantly shifting. What innovations or trends in music tech do you believe will have the biggest impact on artists in the next five years?

AI-assisted tools for creation are already changing everything. They help artists move faster, stay inspired, and collaborate globally. I also believe tools that support better rights management, mobile creation, and fairer revenue models will deeply shift the power back into the hands of artists.

What’s the most valuable lesson you’ve learned that artists and producers should apply to their own careers?

Be yourself and show up consistently. People connect with energy, not just products. You don’t need to be viral—you need to be real. Your audience will grow if you speak to them with purpose and give them something valuable they can feel.

For artists and producers looking to break through in 2025, what’s the one piece of advice you wish someone had given you at the start of your career?

Don’t wait for permission. Create your own lane, your own platform, and your own rules. Everything doesn’t have to be perfect—start where you are with what you have. And study how the music business works. That knowledge protects your art.

Tips for anyone who wants to get into your industry

* Learn both the creative and the business side.
* Build something people need, not just something cool.
* Protect your mental health—it’s a marathon.
* Be patient, but stay visible.
* Don’t just follow trends—start movements.

3 things you can’t live without in your bag

My iPhone, my ideas, and my MAC lipstick. That’s all I need to make things happen—wherever I am.

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Afroplug: Music Tech Startup | Samples Label | Events

Founded by Maëva / Ms Mavy – DJ, Artist & Producer

Lois Hayes: From Global Music Marketing Campaigns to Sustainable Creativity

Lois Hayes began her career as a music marketing strategist, spending over a decade working on global campaigns for labels like Ninja Tune, !K7 Records, Partisan, and Decca and for artists like Bonobo, Laura Marling, Peggy Gou, Phoebe Bridgers plus many more.

Today, she works as a freelance consultant and nervous system coach, supporting artists and label teams at the intersection of creative strategy and trauma-informed care.

With a background as a classically trained musician and writer, Lois now merges creative strategy with science-based trauma therapy techniques—including Somatic Experiencing—to help artists and teams manage burnout, overwhelm, and creative blocks, while also co-creating emotionally resonant digital release campaigns.

In this Q&A, she reflects on her career evolution, what makes a campaign truly land, and why sometimes the most strategic thing you can do—is slow down.

You began in music marketing and now also support artists and teams with nervous system work — how did that shift come about, and how do the two areas connect for you?

I’ve had a non-linear path, shaped in part by early experiences in high-pressure, hierarchical work environments. As a young female executive in leadership, I found myself navigating dynamics that felt disempowering and destabilizing. At the time, I didn’t yet have the tools or language to fully name what was happening but it eroded my confidence, made me doubt my instincts and stayed with me long after. That experience ultimately became a catalyst for the work I now do in nervous system support. 

I realized that so many of the challenges I witnessed in creative industries were governed by nervous system responses. Burnout, self-doubt, perfectionism, creative blocks - these are often signs of deeper survival patterns playing out under pressure. This led me to begin a three year training in trauma resolution through Somatic Experiencing. I wanted to understand the nervous system as a foundation for how we relate, create and lead. The shift from music marketing into somatic therapy felt organic, they’re deeply connected. At its core, marketing is about communication and resonance. Now, I support artists and teams with both: the strategy to amplify their message and the nervous system capacity to sustain it.

What advice would you give to someone who's great at strategy and campaigns but struggling with creative burnout themselves?

In Somatic Experiencing, if we burnt out we are in a functional freeze pattern and pushing through with caffeine and self-flagellation will only push you further into burn out. What is needed is space and to do LESS. This takes time, patience and acceptance. Take the time off, allow the body to reset and come back with authentic motivation.

Looking back, what’s one campaign you’re especially proud of — and what made it work so well?

One campaign I’m especially proud of is the David August - VĪS album release in 2023, which was one of the final projects I led during my time at !K7 Music. It was a deeply collaborative process that allowed me to really lean into both the strategic and creative sides of my work. What made it so rewarding was the level of trust and alignment between us. David had a clear artistic vision and I was able to bring that to life through a campaign that felt intentional, emotionally resonant and visually refined. He later shared that I brought "valuable insights and artistic sensitivity" to the campaign and that I had a unique ability to understand and amplify his vision. That kind of feedback meant so much to me, my biggest priority is always making sure the artist feels truly seen and supported throughout the campaign process.

What do you think makes a music campaign truly cut through today, especially in a crowded digital landscape?

In my work, what is most important is finding ways to merge strategic clarity with artistic sensitivity in a way that feels novel and viscerally compelling - as much as the music itself. I deeply listen to the artist’s or brand’s vision and translate creative concepts into campaigns that resonate emotionally. Marketeers need to have a deep understanding of storytelling, aesthetics and audience psychology - and have an innate trust in giving up the rulebook sometimes and work intuitively. I believe nervous system work is essential to facilitate this kind of expansive approach and expression.

As someone who now works freelance — how did you know it was time to step away from in-house roles?

It was a slow, steady recognition that the structures I was working within weren’t aligned with the way I wanted to live, create, or grow. Freelance life definitely comes with its own challenges: financial instability, loss of institutional support and the weight of being a solo entrepreneur, but it has allowed me to actively shape work that feels regenerative and future-facing for myself and the people I work with as a service provider, disruptor and thinker.

For someone wanting to get into music marketing today, what skills are essential that maybe weren’t 5 or 10 years ago?

I think engaging with AI tools is especially relevant right now, they’re reshaping how we ideate, create and communicate in the marketing space. But beyond that, having a wide frame of reference is essential. Don’t limit yourself to just studying music campaigns, immerse yourself in art, literature, film, subcultures. The more expansive your inputs, the more thoughtful and resonant your work will become. Also, having some foundational design or copywriting skills can take you a long way, it allows you to be more agile and self-sufficient, especially in fast-paced or lean team environments. And finally, don’t underestimate the importance of rest.

Tips for anyone who wants to get into your industry.

My biggest tip for anyone looking to get into the industry is to make sure the work itself is truly a fit for you. It’s easy to get caught up in the allure of working in music, but it’s crucial to understand the specific role you’re stepping into. I've seen too many people burn out or become disengaged in positions that weren’t aligned with their strengths or passions, and experienced this myself in ways. Take the time to really evaluate the work and ensure it’s something you’re genuinely excited about.

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Connect with Lois Hayes on LinkedIn | Website | Free Masterclass

Dornika: The Iranian Artist Turning Heads with Single 'Baggy Jeans'

Dornika is a queer Iranian-American emerging pop artist creating music that’s playful, powerful, and full of personality. You might already know her from tracks like Bush, Miniskirt, and Nobody—songs that put her on the radar for her raw lyrics and genre-blurring sound. Now, she’s back with her latest single Baggy Jeans, out April 17.

Blending music, fashion, and performance, Dornika uses her work to explore identity and challenge expectations around gender, beauty, and how we express ourselves. Her sound is a mix of dark electronics, hyperpop, and club bangers—always with a bit of edge and attitude.

She wrote Baggy Jeans during her first US tour, inspired by how people responded to her outfits on the streets of New York and LA—a mash-up of Berlin and NY streetwear that turns heads and sparks conversations. The track celebrates taking up space, especially for women and queer people in scenes where cis men have long been the focus.

Since her debut during the pandemic, Dornika’s played over 100 shows across Europe, including Pride events in Berlin, Munich, and Rotterdam, and festivals like Lollapalooza and Fusion. She’s also teamed up with brands like Spotify and Netflix—but Baggy Jeans is just the beginning of what she’s got planned this year.

We caught up with Dornika to chat about the story behind the song, her love of streetwear, and how she’s creating her own lane—one baggy fit at a time.

Baggy Jeans is rooted in your personal experiences with fashion and identity. Can you tell us about how fashion has helped you explore self-expression over the years?

Fashion has been a part of my life since I was very young. I wanted to be a fashion designer since I was 7 and had a sketchbook full of designs! I feel like growing up in Iran, where women’s bodies are controlled so heavily, fashion is a big part of resistance. Even with the restrictions people still find ways to be creative and individual and you can see that in the progression of fashion over the last decades. Being able to wear what you wantand 

You’ve talked about how people reacted to your style while walking through New York. What did those moments mean to you, especially coming from a background where your choices were often questioned?

I feel like I’ve always turned heads when I’m in a fit wherever I go. Even while I was in Tehran and had to wear hijab and had more limitations, I still put my own flavor on things and managed to make it my own.

I just love to experiment and play around and that’s ultimately what fashion is about! I guess I had a high expectation of New York fashion and was a bit anxious of how my style would be received but the compliments and attention made me feel affirmed in my creative energy and gender expression.

I felt lots of love from New Yorkers and I love how outwardly expressive people are with compliments. Something that I’m not so used to in Berlin hehe

The way you describe your experience in New York — being seen, being affirmed — speaks to something a lot of queer and trans people search for. What would you say to those still searching for that sense of freedom?

I would say don’t be afraid to experiment and try different things on (whether it’s clothes, pronouns or mannerisms) and look for what gives you a spark or a sense of comfort and keep rolling with that. It’s scary sometimes but it’s important to decenter other people’s approval and focus on the inside, trust that wherever you land and feel good in will bring you love and acceptance, even if it’s not from the norm. It first starts with you finding and accepting yourself! 

As someone who works across music, fashion, and visual art, what have you learned about the power of using multiple forms to tell one story?

I feel like for me it’s not just about the music, but about building a world around a concept and telling a story that people can get fully immersed in. Even the music is a tool for embodying the concept I have in mind and the purpose that it serves. When I write a track, I get visions from the beginning about what the visuals could be or the cover or my outfit. I’ve never just felt like doing one thing in life and so it’s very fulfilling for me to be able to express myself in all the ways that I find inspiring. 

What’s a music rule you love breaking?

I grew up with classical music and a lot of judgement surrounding pop music, as it’s seen as somehow inferior. I love breaking the rules of what is considered proper art or high level. I allow myself to be messy and sloppy and cringe and embracing my weird dorky brain when it comes to the lyrics. This has been a journey I’ve actively been on with my music and it’s been very freeing. 

What’s your favorite/least favorite thing about making music?

My most favorite parts are coming up with the ideas and bringing the music to life in the studio. My least favorite parts are recording vocals and the anxiety and vulnerability of releasing the music. 

What’s your best networking tip?

If someone you admire and want to work with doesn’t notice you or respond to you at first, be patient and keep growing. Eventually they will. 

What’s one piece of advice you’d give to artists trying to break the mold?

Challenge yourself and be intentional about your art

What are you listening to at the moment?

Earth is Ghetto by Aliah Sheffield

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Connect with DORNINA on Instagram | More Links

R&B Artist Nia Chennai Returns With Single Give It Up, Featuring Ella More

Nia Chennai is an emerging R&B artist blending soulful melodies with honest, introspective songwriting. Born in South London and raised in Surrey, Nia grew up surrounded by a wide range of musical influences that shaped her sound and storytelling. She began writing original songs and posting covers online, drawing inspiration from personal experiences and the world around her.

In November 2023, Nia released her debut EP Diary Is A Waste Of Paper, which earned praise for its raw, relatable themes. The project explored love, heartbreak, and self-discovery through emotionally rich production and powerful vocals.

Nia now returns with Give It Up, a new single featuring fellow R&B artist Ella More. The track reflects on the clarity and strength that come with walking away from what no longer serves you.

“Give It Up” has such a strong message about walking away from what no longer serves you. Can you tell us a bit about where your head was at when you wrote it — and how that collab with Ella More came to life?

I wrote “Give It Up” when I’d fully come out the other side of a breakup, that point where you’ve found yourself again. So when me and Ella got to chatting, relationships came up naturally, and we both connected on that feeling of finally having the strength to walk away. It was something we’d both lived through, and I think that honesty really shaped the track.

We’d been wanting to work together since meeting at a show earlier that summer, so when she came into the session, it just flowed. Nothing was forced, we kept it real and got stuck in. I think you can hear that chemistry in the song.

You’ve been championed by platforms like COLORS and Earmilk, and worked with brands like Lemonade Dolls. Has anything surprised you about how your music has connected with people so far?

Honestly, when someone goes out of their way to tell me they love a song, especially in real life, and I can feel their excitement, it reminds me how many people I actually connect with. It’s mad! This year, one supporter even started a fan account (shout out to Holly — she’s a real one).

The fact that I’m just writing from my own experiences and people feel seen through that? That means so much. And getting support from platforms like COLORS is sick, I’d love to perform for them one day, so them taking notice shows I’m on the right track. Plus, it proves they’ve got good music taste, lol.

What’s one thing that’s helped you stay true to yourself as your career starts to build — whether in music, branding, or just life in general?

I’ve learned to check in with myself, how I feel, my vision, and what I see for myself in my career before I say yes to anything. I’ve actually been reading The Artist's Way, and it’s really helping me understand myself and what I want better. Whether it’s a song, a collab, or even a photo shoot, I always ask: “Does this feel like me?” Not every opportunity is the right one, so staying true to my path is the most important.

A lot of early-stage artists struggle with building confidence or feeling “ready.” What’s something that’s helped you push through those doubts and keep going?

If I waited to feel “ready,” I wouldn’t have released anything or done half the things I’ve done. You just have to be a little delusional and back yourself and then learn as you go. Every song, every performance, every awkward moment has helped build my confidence bit by bit. I’m still learning every time. It’s not about being fearless, it's about doing it anyway.

There have been times I’ve felt sick before going on stage, come off shaking, or dealt with serious imposter syndrome while creating and yet I still have this burning desire to keep going. One thing that keeps me going is a pic of baby nia on my Lock Screen I . I look at it and think, “I’m doing this for you, girl.” 

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You’ve built a sound and brand that really feels like you — what advice would you give to artists trying to figure out who they are creatively and how to express that?

Try everything, but listen to what sticks. It took me some time to realise what felt natural and what didn’t, and that’s part of the process.

It can get really confusing comparing yourself to your peers or the greats before you. But most of the time, the real you comes naturally, that “natural sauce.” That’s why it feels wrong when you try to copy somebody else’s vibe. Don’t be scared to lean into your own.

You’re meant to stand out, so don’t hide. God didn’t give you this dream for no reason. Dig deep, get to know yourself, and show up for yourself every day!

Nia Chennai: Instagram & Tiktok | Listen to Give It Up

Ebonie Smith: From Engineering Cardi B’s 'Invasion of Privacy' to Founding Gender Amplified

Photo Credit: Matt Fajardo

Ebonie Smith is a celebrated music producer, audio engineer, and singer-songwriter based in the vibrant hub of Los Angeles.

With an impressive track record in the industry, she most recently served as senior audio engineer and producer at Atlantic Records, contributing to iconic projects like the Broadway cast album of Hamilton, Janelle Monáe’s Dirty Computer, and Cardi B’s Grammy-winning Invasion of Privacy.

As Co-Chair of the Producers & Engineers Wing of The Recording Academy, Ebonie is a driving force for innovation and inclusion in music production. She’s also the founder and president of Gender Amplified, a nonprofit she launched in 2007 that’s dedicated to celebrating and empowering women and gender-expansive music producers.

With a master’s degree in music technology from NYU and an undergraduate degree from Barnard College at Columbia University, Ebonie brings both academic rigor and real-world experience to everything she does — making her a true leader and inspiration in the music world.

In this Q&A, we sit down with Ebonie to explore her journey, her mission with Gender Amplified, and her vision for a more equitable future in music.

How did you get your start in music?

I got my start in music through a deep love for sound and storytelling. From an early age, I was drawn to instruments and the way music could shape emotions and experiences. My formal journey began with playing piano and experimenting with production tools, eventually leading me to engineering and production. That curiosity and passion set the foundation for everything I do today.

How did your experience at Barnard spark the vision for Gender Amplified, and what’s changed most since you started it in 2007?

Barnard was where the vision for Gender Amplified took root. Studying in an environment that emphasized women’s empowerment made me keenly aware of the disparities in music production, particularly for women and non-binary creatives. What started as my thesis project became a movement to carve out space for underrepresented producers. Since 2007, the industry has evolved—there’s more visibility and conversation about gender equity—but access and real opportunities are still a challenge. Gender Amplified has grown into a platform that not only uplifts but actively creates opportunities for the next wave of producers.

‘In Bloom’ is Gender Amplified’s first official EP — what did you want it to represent for your community, and what are you most proud of?

With In Bloom, I wanted to showcase the power of collaboration and the brilliance of gender-expansive producers. It’s a sonic statement that says, “We are here, we are creating, and our work deserves to be heard.” I’m most proud of how it brings together different voices and styles while staying true to the mission—elevating talent that often goes unrecognized in mainstream spaces.

You've built space for gender-expansive producers to thrive — what advice do you give to those trying to break into the production world right now?

My advice is to start where you are and build with what you have. Learn your tools, experiment fearlessly, and stay consistent. Community is everything—find your tribe, collaborate, and support others. Most importantly, own your sound and trust that there’s a place for your voice in this industry.

What’s the biggest misconception about what a music producer actually does — especially when it comes to women and non-binary creatives?

One of the biggest misconceptions is that producers just press buttons or that they play a passive role in music creation. In reality, a producer is the architect of a song’s entire sound. They shape the arrangement, guide the artist’s performance, and bring a vision to life. When it comes to women and non-binary producers, there’s often a false assumption that they aren’t as technical or hands-on, which couldn’t be further from the truth.

You’ve balanced major label work with grassroots organizing — how do you navigate both worlds and keep your mission grounded?

It’s a balancing act, but for me, the two worlds inform each other. My work with major labels gives me insight into industry structures, while grassroots organizing keeps me connected to the people who are shaping culture from the ground up. Staying grounded comes from always returning to the why—am I creating access, am I opening doors for others, and am I using my position to uplift? That’s what keeps me aligned.

The CTRL Room Series helped birth some of the tracks on the new EP — what makes these camps so powerful for creative development?

The magic of the CTRL Room Series comes from the energy of the room—when you bring together talented producers, artists, and songwriters in a space that fosters experimentation, incredible things happen. These camps remove the pressures of the industry and allow creativity to flow organically. That freedom and exchange of ideas are what make them so powerful.

As Co-Chair of the Recording Academy’s Producers & Engineers Wing, how are you working to create more equity in the industry from the top down?

One of my focuses is ensuring that policies and initiatives prioritize inclusion, not just in conversation but in real decision-making. That means advocating for fair crediting, increasing representation in studio spaces, and pushing for more educational resources that level the playing field. It’s about making sure that underrepresented producers have a seat at the table and the tools to thrive.

Can you share a moment in your career that affirmed you were on the right path — even when it wasn’t easy?

There have been so many moments, but one that stands out is seeing an artist or producer I’ve mentored go on to achieve success. When someone tells me that Gender Amplified, a studio session, or a piece of advice I gave changed their trajectory, it’s a reminder that this work matters. Those moments make the struggles and setbacks worth it.

What do you want the next generation of producers to believe about their power and their place in the music industry?

I want them to believe that they belong. Their ideas, their creativity, and their unique sound have value. The industry is shifting, and there’s more room than ever for new voices to redefine what music sounds like. The key is to own your artistry, build your community, and never wait for permission to create.

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Website: Gender Amplified | Ebonie Smith on Instagram

Cydnee with a C: Genre-Bending D’n’B and K-Pop

Atlanta-born, LA-based artist Cydnee with a C is redefining the intersection of alt-pop, R&B, and liquid drum ‘n’ bass with her genre-bending new EP POV, out now via TH3RD BRAIN. Led by standout singles At Night, Love You Down, and Spend It, the six-track project explores themes of love, longing, and late-night introspection, delivering what SNIFFERS calls her “most vibrant and magnetic form.”

Cydnee first gained recognition in 2017 through features on Trippie Redd’s A Love Letter To You 2, before finding her voice as a solo artist with her 2023 debut Confessions Of A Fangirl. That release—a heartfelt ode to fandom culture—blended Jersey Club, R&B, and D’n’B into a sugar-rushed sonic palette, earning praise from Paper, Nylon, and Bandcamp, and racking up over 3 million streams.

Now, with POV, Cydnee continues to expand her kaleidoscopic sound, pulling from her deep love of K-pop and underground electronic music to craft immersive, emotionally charged pop at high BPMs. The rollout—complete with surprise pop-ups, exclusive merch, and upcoming performances in LA, New York, London, and Seoul—cements her as one of the most exciting new voices on the global alt-pop and drum ‘n’ bass scene.

What’s the story you’re telling with your new EP POV? 

My first dnb project was called confessions of a fangirl an POV is the perspective of a fangirl that loves music that makes you feel good. Hence my love for kpop cause it makes you feel good! I take stuff like forgiveness, heartbreak, and toxic situations and make it into sounds and feel good. Positive perspective.

If someone is hearing your music for the first time, what’s the one track they should start with to really understand who you are as an artist?

Cry Alone- its my first ever dnb record and i feel like so many can relate to the happy sad feeling that song has.

Your music blends K-pop influences with drum ‘n’ bass and R&B in a way that feels fresh and unexpected. What elements of K-pop inspire you the most—whether in production, performance, or the connection with fans?

I love that kpop takes serious and dope concepts and make them into a whole feel good experience. I love the melodies and concepts and i like to make my songs with those things in mind. And for the songs to feel good even if someone doesnt know what im saying.

Drum ‘n’ bass has a rich underground history, while K-pop thrives on global fandom. You sit at the intersection of both—where do you see the future of music and global pop colliding?

I see myself touring internationally and collaborating with kpop artist! I can see a record with myself, a hispanic artist, and a kpop artist! That would be so worldly and cool!

When you’re in the studio, what’s the one thing that always anchors your music, no matter the genre?

I love to freestyle and thats the number thing i always go by when creating. Because when you freestyle what comes out is real and original like its from god. lol.

What's your favorite/least favorite thing about making music?

I engineer and mix all of my music and i love getting free and creating but sometimes the mixing becomes too overwhelming.

3 things you can’t live without in your bag

airpods, lip gloss, snacks 

What are you listening to at the moment?

All i listen to is my own music and kpop its crazy. Le sserafim and Jennies new album is always on repeat

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Follow Cydnee with a C

TikTok | Instagram | Spotify | YouTube | SoundCloud

Ana Marković: Steering EXIT Festival's Global Influence

Photo Credit: Sofija Palurović

Ana Marković is a classically trained pianist turned International Marketing Manager at EXIT Festival, one of Europe's leading music festivals. In her role, Ana spearheads global marketing initiatives that bridge artists with international audiences. Her strategies and partnerships ensure EXIT's continued prominence in the live music scene.

Additionally, Ana is the CEO and Founder of TAKT, an independent concert promoter that blends classical music with contemporary art forms. TAKT serves as a creative laboratory, challenging traditional concert norms by incorporating elements of dance, theater, fashion, and film. This approach allows artists to experiment and push the boundaries of live performance.

With a career that spans performance and strategic innovation, Ana is committed to redefining the live music experience, fostering unique connections between music, audiences, and culture. Her work not only entertains but also pioneers new ways of experiencing art and sound.

How did you get your start in music?

Music has always been the core of who I am. I started playing classical piano when I was seven, and that was the beginning of everything. My studies in Vienna allowed me to dive deep into both classical and contemporary works, exploring the full range of sound and expression. Over the years, I became fascinated not just by the performance itself, but by everything behind the scenes — how a show comes to life, how it’s shaped and brought together, and how people connect with it.It became clear that it’s not just about the music, but the process of crafting an experience that resonates and makes an impact.

For me, it’s all about culture and connection. Whether it’s a techno set, a contemporary music theater piece, or a mainstream concert, it’s all music. It’s about creating and sharing something that moves people, no matter the genre or platform. I love being part of both sides — the creation and the curation — and bringing them together to leave an unforgettable imprint.

EXIT Festival has grown into one of Europe’s most influential music festivals, attracting global audiences while maintaining strong local roots. What strategies do you use to ensure the festival stays relevant and competitive in an ever-changing festival landscape?

EXIT was born out of activism, and that spirit still runs deep in everything we do. But staying relevant means we’re constantly evolving. We’re not just booking big names — we’re creating cultural moments that connect, that speak to the times, and that feel emotionally real for the people who come.

We stay rooted by listening — to our community, to global movements, to the energy of the generation that’s showing up now. From how we curate stages to how we shape campaigns around freedom, mental health, or sustainability, the goal is to build something that resonates across borders but still feels personal.

We don’t chase trends — we build bridges. Between genres, cultures, and ideas — from techno legends to emerging regional voices — all coming together inside this iconic 17th-century fortress. The setting alone creates something you simply can’t replicate anywhere else. The magic happens right there, within those walls, where people from all over the world meet, and something unforgettable takes shape.

As someone leading international marketing efforts, what are the biggest challenges in promoting a European festival to a global audience, and what innovative marketing tactics have worked best for EXIT?

Marketing globally means navigating a lot of nuance — different behaviors, timing, communication styles. Understanding the psychology behind each market is key. We focus on building long-term, meaningful relationships with people we trust — whether that’s local ambassadors, artists, or teams in each region — so that our message feels real and aligned.

The most effective strategies are often the most human ones. We prioritize authenticity, and we tailor everything — from visuals to language to when and how we show up — to feel personal in every market. It’s about creating something people want to be part of, not just selling a ticket.

Sustainability is becoming a key focus in the festival industry. How is EXIT Festival integrating eco-friendly initiatives into its operations? What steps are being taken to minimize the festival’s environmental impact while maintaining its large-scale production?

Sustainability has become an important part of how we think and work at EXIT. It’s not just about ticking boxes — it’s something we try to build into the culture of our festivals. Through initiatives like Green R:Evolution and the Green EXIT platform, we’ve been involved in recycling programs, zero-plastic pilot projects, awareness campaigns, and international collaborations like REMEDIES and INSPIRE, which focus on reducing plastic waste and protecting water ecosystems. We’ve also experimented with renewable energy tech, like solar-powered installations at EXIT Camp, and we’re part of the Green Deal Circular Festivals group. It’s a process, of course — but the intention is clear: to do better each year, and to inspire our audience to join us in that.

Tips for staying grounded on a tough day.

Honestly, we’re constantly overexposed — too much noise, too much pressure, too much everything. So for me, it’s about clearing space. Taking time to be alone with my thoughts, breathing, walking, just disconnecting a bit. Those small reset moments really help.

And then there’s people—spending time with those I trust, the ones who recharge me. That human connection is everything when everything feels too much.

Tips for anyone who wants to get into your industry.

Entering the music and festival world takes passion, empathy, and a lot of adaptability. Networking is important — of course — but more than anything, you have to build genuine relationships, not just collect contacts. People remember energy, intention, and how you show up.

And be open. Most people don’t realize just how many roles exist in this industry — it’s not just performing, promoting, or managing artists. There’s strategy, content, curation, partnerships, community-building, and so much more. Sometimes the role that ends up being your thing is one you didn’t even know existed. So give yourself the freedom to explore and evolve — it’s all part of finding your place.

What are you listening to at the moment?

Honestly, my playlist kind of mirrors my career path — it jumps between worlds. I’ll go from hardcore techno to heavy metal, then land somewhere in old-school salsa or some soul or funk. It’s never really about genre — it’s about energy.

Right now, I’ve been playing the new album from Serbian artist Buč Kesidi on repeat. At the same time, when I want to shift gears completely, I put on Sleep Token, their music really fuels my day and gets me in the zone

Mychelle: From Busking to 2.5M+ Streams and Debut Album "Good Day"

Hackney-born singer-songwriter Mychelle has just released her debut album Good Day, out now via FAMM—the independent label known for launching the careers of Maverick Sabre and Jorja Smith. The album captures a turning point for Mychelle as both a writer and performer, reflecting on difficult experiences and transforming them into soulful, uplifting songs.

A standout voice in UK soul and R&B, Mychelle’s rise has been steady and self-made. She first made her name busking on the streets of London, before being spotted at London Bridge and signed to FAMM. Since then, she’s gained critical support from Clash, The Metro, Evening Standard, and Dork, as well as airplay from DJ Target, Adele Roberts, and Jamz Supernova. Her collaboration with ENNY, Forbidden Fruit, has racked up nearly 2.5 million streams, and she’s released a string of acclaimed EPs, including Closure, Someone Who Knows, It’s Not You, It’s Me, and Me & Gaz.

Live, she’s played major festivals like Montreux Jazz Festival, Boardmasters, and Into the Great Wide Open, supported Michael Kiwanuka and George Ezra, and is now preparing for a packed summer—joining Jorja Smith’s UK tour and heading out on her own 10-date headline tour across Europe.

We caught up with Mychelle to talk about the making of Good Day, how she overcame creative blocks, and why this album feels like a full-circle moment.

What’s the story behind Good Day — is there a thread that runs through the album?

The final track on the project is called “Good Day” and when I was going to the studio the day I wrote it, I was having a string of bad days. When I left the studio, I was so excited by the song it literally turned in to a good day for me. When writing all of these songs it was the same feeling.

Good day is also a way of saying good bye and in most of the songs, i’m talking about letting go and saying good bye to the things not serving me. Being able to do that is always a good day too. 

“Seasons” came to you while on your way to play basketball — do you often find inspiration in those in-between moments, when you’re not actively making music?

All the timeee! I love making music when i’m cooking, walking, cycling, when i’m shopping - like you said the in-between moments. That’s when i’m not overthinking I guess. Making them in to a song is another story. Happy I managed to create Seasons and Sweet Nothings out of those moments though. 

You’ve said you used to be quite shy, but still chose to busk for years across London. What gave you the push to start — and what kept you going?

I started because I like to live by the quote ‘Luck is when preparation meets opportunity’ so in my mind if I’m out singing in public, frequently practicing my craft when opportunities come I will be ready for them. I feel like this has definitely served me well in my journey. 

What helps you stay grounded and focused, especially when the music industry can sometimes feel overwhelming?

Writing things down, working out/ going for a run & romanticising my life in tiny ways. 

What's your favorite/least favorite thing about making music?

My favourite thing is singing. I love to sing. Like the actual act of singing! I love it so much. 

Writer’s block is my least favourite thing. I hate it when I’m stuck and then I start over thinking. That then usually leads to me feeling like I’m not good enough and that’s not the one.

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Mychelle on Spotify Instagram & TikTok 

Camille Guitteau: Building a Plastic-Free Music Industry with Bye Bye Plastic

Camille Guitteau is the co-founder of Bye Bye Plastic Foundation, a disruptive non-profit that helps the music and events sector transition away from single-use, fossil-fuel plastics.

Founded five years ago alongside BLOND:ISH, Bye Bye Plastic operates across Western Europe and the USA, rooting its work in the principles of the Circular Economy. The foundation focuses on two core pillars: Education and Awareness — raising consciousness around the scale of plastic overconsumption and its ties to the fossil fuel sector — and Solution-oriented Guidance, offering direct, practical support for events and hospitality businesses to eliminate plastics from their operations.

Bye Bye Plastic approaches change by activating every stakeholder in the music industry, starting with DJs and artists as the most powerful voices for action. Their goal: to create a future where every dance floor can host a #PlasticFreeParty.

Camille’s motivation to launch the organization came from her personal experience on plastic-littered dance floors during a summer of festivals — an experience that made her realize how much needed to change. Prior to co-founding Bye Bye Plastic, she built her career in radio, events, and marketing, later working at Gracenote in Amsterdam before shifting her focus fully toward environmental impact.

Now leading a remote-first, international team of event and sustainability specialists, Camille continues to drive Bye Bye Plastic’s mission forward. Their 2024 Impact Report showcases recent achievements and sets out their roadmap for 2025, backed by a series of targeted programs aimed at accelerating the music industry's transition away from plastic.

What was your personal tipping point that made you realise the music industry needed to go plastic-free — and that you had to be part of that change?

My personal a-ha moment went down the same way as my co-founder BLOND:ISH’s did, and I think it goes the same for a lot of people;

Realising all of a sudden this plastic trash piling up on the dance floor was here so uninvited, was killing my vibe (I was spending more time flipping bottles & cups with my feet that using those feet to fully let go & dance), and actually made zero sense no matter the way you’d try to turn this.

I was at a time where I had taken a short break to think through what would be the next steps of my career, which I knew would need to infuse more purpose but still wanted to stay in music. So it took combining those observations and getting to the conclusion that I knew what to get back to work on!

Five years in, what’s one moment with Bye Bye Plastic that made you think, “This is actually working”?

I’ve got to mention two moments — one from the very beginnings, and one more recent.

The early one came just before the pandemic, when we launched the Eco-Rider movement in December 2019. It spread like wildfire. By January and February 2020, people across the industry were calling us, wanting to collaborate. It was a huge validation! — and then, of course, March came around, and the rest is history….

More recently, it was serendipitously receiving not one, but two awards on the same day: one for “Best Initiative Using Music to Promote Environmental Sustainability” from the Music Cities Awards (which we had applied for), and one that came as a total surprise from the International Music Managers Forum for our work in “Music Activism.” Being seen — and praised — like that? It’s proof that our hard work pays!

Plastic on the dance floor is the symptom — what’s the bigger system BBP is really trying to shift?

At Bye Bye Plastic, we’re working to shift culture — which is what feeds the system. We’re up against two intertwined cultural mindsets: the single-use culture, which prevails in the events sector (and is rooted in the “take, make, discard” model of the linear economy), and the fossil-fuel culture which prioritizes “cheap, fast, convenient.”.

More sustainable options often currently struggle to compete on those terms — not because they’re not good, but because they’re new entering the market.

They need time, but most importantly they need support and momentum in order to build scalable supply chains, in order to grow in competitiveness against the giants of the fossil world they’re up against, and settle in as the new norm. We’re here to give them that push, accelerate that movement.

What do you say to event organisers who think “sustainability is too expensive or complicated” to prioritize?

I’d say: you’d be surprised how “hackable” sustainability actually is once you accept that it will likely also have to touch upon your operations, and your P&L (just not always in the negative way you’re projecting).

The real barrier isn’t money or logistics — it’s mindset. If you’re looking for a magic fix that requires zero effort, that unicorn doesn’t exist. But if you’re open to evolving and building resilience into your operations, then sustainability IS where you should be looking.

We’re seeing amazing innovations — circular product designs and new materials that actually save time, space, and money. They’re cutting hours of labor a week for teams and bringing long-term wins on both environmental and financial fronts.

I’m convinced that if the music events sector would bring even half the creative energy it pours into stage design and marketing into building circular systems, this industry would be unstoppable — resilient, vibrant, and straight-up dope.

1. From backstage riders to bar setups, where do you see the most unnecessary plastic in the music ecosystem — and how easy is it to replace?

2. You work with principles of the circular economy — what does that actually look like on a dance floor or in a green room?

3. Can you share an example of a venue or festival that made the leap and went truly #PlasticFreeParty — what changed for them

Which of Bye Bye Plastic’s current programs or initiatives are you most excited about right now — and how can others get involved?

The Zero Plastic Club program we launched in France has been such a proud moment. It’s another proof that our recipe — collective action accelerating environmental transition — really works.

Thanks to this initiative, the French club scene is now preventing over 10 tonnes of single-use plastics from being generated every year. We’re currently exploring how to bring this program to the UK, Spain, NYC, and beyond.

So if you’re a club operator, owner, resident artist, or even just a passionate regular, and you want to plant the seeds #PlasticFreeParty values in your scene — speak up, reach out, and let it be heard! That’s how change really enters the room.

How do you balance awareness-raising with actionable guidance — and why do we need both?

Great question! We always say: Knowledge is power, and power is action.

You need to understand what’s really going on before you can take meaningful steps to change it. But we’ve never wanted to stay in the “awareness only” lane, especially given that climate action often inspires a lot of doom & gloom while the music & events sector sits all the way on the opposite side of the emotional scale. At Bye Bye Plastic we're not just preaching — we’re building. A resilient, circular future is possible faster if we get our hands dirty, together.

Now some organisations are built to write & influence policy, defend legislations & citizens right, and they are equally essential! Others offer sector-specific consulting. I think BLOND:ISH & I just knew from the start we wanted to do both — raise collective awareness (create momentum), and offer hands-on transition tools (accelerate that momentum). That’s the benefit of being artist-led — we live inside this complex, connective industry, and we want to move it from the inside out.

With your 2025 plans in motion, what’s next on the disruption radar — and what kind of support do you need to get there?

1. If we’re talking disruption, we’re getting ready for our first time at NYC Climate Week — and we’re not going to show up with “just another panel.” We want to make a lasting impact, something people carry with them long after the event. Still drawing the lines of this presence as we speak, but definitely a space to watch us head towards!

2. We’ll also be in London June 19th for an upcoming announcement. And all across France and Belgium this Summer with our national #RameneTaGourde (#BYOB) campaign, which we’re currently recruiting volunteers for.

3. As for what we need: any Eco-Rider artist, agency or even aspiring supporter wanting to push the environmental needle further, we’d like to hear from you as we’re working on augmenting our resources for you this year. And I guess it’s always worth remembering that currently only 3% of global philanthropy goes toward environmental causes… Needles to say, that's not nearly enough to compete with the scale of change needed. So for Bye Bye Plastic — and for every mission-driven org fighting the good fight — we’re always stocked to receive this fuel! 

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• Bye Bye Plastic’s Impact Report 2024

• BBP General Deck

• Bye Bye Plastic on Instagram & Website

• Connect with Camille Guitteau

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The Godmother of House: Stacey 'Hotwaxx' Hale on Mentorship, Detroit and Building Space for Women in Dance Music

Stacey “Hotwaxx” Hale is a foundational architect of American dance music. Known as the Godmother of House, she was the first woman to play house music on Detroit radio, establishing a presence that would influence generations of artists and audiences alike. From the late 1980s onward, Hale has shaped the landscape of electronic music through a career that spans radio, clubs, education, and activism.

A versatile DJ and producer, Hale moves fluidly between house, techno, funk, hip hop, and orchestral forms, bridging Detroit’s musical traditions with global currents. Her résumé includes landmark venues such as the Apollo Theater in New York, Detroit’s Fox Theatre, and underground sites like Studio 54 and The Warehouse, underlining her reach across both mainstream and subcultural spaces.

Today, she continues to anchor Detroit’s dance music scene with residencies at Spotlite and Marble Bar, while also maintaining an international profile with performances in cities including London, Berlin, and Toronto. Outside of performance, Hale’s work on Deepspaceradio’s Twisted Tuesdays, and her involvement in mentorship initiatives like Girls Rock Detroit and Give a Beat, underline a long-standing commitment to community building and education.

Hale is not only a DJ but a founder and advocate, co-creating Sheometry Festival alongside DJ Minx to amplify female and non-binary voices across the music and arts ecosystem. Across four decades, her work reflects a sustained engagement with sound as both a cultural and political force.

How did you get your start in music?

My musical journey began at age 3, immersed in the rich sounds of jazz through my parents and older brothers. They were avid music lovers who exposed me to jazz first, then R&B, rock, and fusion. Looking back, I realize this early exposure was instrumental in developing my ear and laying the foundation for my career in music. This diverse musical upbringing shaped my ability to understand and blend different genres, which became crucial in my development as a house music DJ.

You are known as the ‘Godmother of House Music,’ but in a scene that still skews male-dominated, what does real progress for women in house and techno look like to you?

The title 'Godmother of House Music Detroit' came from the community, and I've grown to embrace it with deep respect. It's important to acknowledge my contemporaries like Sharon White in NYC and Celeste Alexander in Chicago, who also pioneered house music in their respective cities.

Together, we broke ground in a male-dominated industry, proving that women could not only participate but excel and innovate. This disparity in gender representation inspired the creation of Sheometry Music & Art Festival, which continues our mission of creating space for women in electronic music.

Dance music is often seen as a culture of celebration, but it’s also a form of resistance. Looking back on your career, how has house music been a tool for freedom and empowerment, especially for women and Black artist

House music represents a perfect fusion of celebration and cultural significance. What particularly draws me to this genre, especially Gospel House, is its ability to convey profound messages through rhythm and melody.

In Detroit, our community embraced both Techno and House as vehicles of artistic expression. This music created an inclusive space where authenticity thrived, particularly significant for Black artists and women in the industry.

Through my performances at spaces like the Boiler Room: Detroit and Sónar Festival, Movement Festival,  I've witnessed how this music continues to break barriers and unite people.

The relationship between DJs and live musicians is something you’ve explored deeply with Nyumba Muziki and Black Women Rock. How does performing with live musicians change the energy of a house set?

The synergy between DJs and live musicians creates an unparalleled musical experience. My appreciation for instrumental music, particularly piano, has deepened through collaborative performances that bridge electronic and acoustic elements. Working with musicians who share this vision of musical fusion has led to remarkable moments of creativity. These collaborations, whether through Beatport Live or at international festivals, demonstrate the endless possibilities when traditional and electronic music converge.

You’ve played everywhere—from Studio 54 and The Warehouse to Marble Bar and Spotlite Detroit. Out of all those legendary dance floors, what’s your favourite memory from behind the decks?

Each venue has gifted me with unforgettable moments, but two particularly stand out: The Zoo Project in Ibiza and The Apollo Theater. Beyond those, some defining moments include:

Studio 54: The night I needed security because the crowd was so energized by the music, they wanted to personally express their appreciation. Having the Clark Sisters present me with the 12" of 'You Brought The Sunshine' made it even more memorable.

The Warehouse: The 1st live Broadcasting on FM 98 WJLB also with singing recording artist ADEVA surprised me with a birthday serenade – a perfect fusion of radio and live performance.

Marble Bar: This venue set the standard for sound quality in progressive House/Techno, showing that perfect acoustics are essential for this genre.

Spotlite Detroit: A powerful return to live performance post-pandemic, reinforcing music's ability to heal and unite communities.

You’ve mentored and taught DJing and production to young artists through SPIN INC, Girls Rock Detroit, and more. What’s the most important piece of advice you give to the next generation stepping into this world?

Through my work with SPIN INC, Girls Rock Detroit, and other organizations, I've discovered that the most fundamental lesson isn't about technology or technique – it's about truly listening. I always tell my students: 'Don't just hear the music, listen intentionally.' Understanding how to create specific emotional responses in your audience is crucial. This deep listening skill becomes the foundation for everything else in music production and DJing. It's about developing the ability to curate experiences and connect with your audience on an emotional level.

What is it about Detroit that continues to fuel the most influential sounds in dance music?

Detroit's influence on dance music stems from our authenticity as both an industrial and technological hub. Our musical legacy spans Motown, Jazz, Hip Hop, Funk, Soul, House, and Techno – each genre reflecting our city's evolution.

What makes Detroit special is that our sound isn't manufactured; it's born from real experiences and innovation. The 'Detroit sound' has become so influential that artists worldwide incorporate our city's name in their work, hoping to capture some of that authentic innovation that's uniquely Detroit.

We don't just create music; we pioneer sounds that continue to shape global musical landscapes.

• Interview by @ninakeh

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Stacey “Hotwaxx” Hale on Instagram | Website

ILĀ on EP 'Murmur' with Imogen Heap, Guy Sigsworth, Reeps One and What’s Next

Photo credit: Sophia Stefellé

ILĀ is an artist, producer, and vocalist working across voice, sound, and technology. Their practice spans live performance, immersive installation, and experimental composition. As co-founder and director of London Contemporary Voices, ILĀ has collaborated with over 25 Grammy-winning artists, including Florence + The Machine, Imogen Heap, and U2, and contributed to major projects such as the BBC Proms and runway shows for Burberry and Tommy Hilfiger.

Their recent work includes UN/BOUND, a holographic sound installation created with TRANS VOICES and MONOM for Feel the Sound at The Barbican. The piece combines choral voices with tone transfer models by NEUTONE and quantum computing tools developed with MOTH. ILĀ’s upcoming short film murmur features collaborations with Ai-Da (robot artist), Imogen Heap, Guy Sigsworth, BISHI, and Portrait XO.

ILĀ has performed and presented work internationally, including at the World Economic Forum, TED Countdown Summit, Silencio (Paris), Puzzle X (Barcelona), the University of Oxford, and Harvard University. Other commissions include Kindred (animated VR film), Loomaland’s Robot Swans, and a collaboration with Turner Prize-winner Jesse Darling on MISERERE.

They are a member of the Ivors Academy Future Sound Experience Council, the Earth/Percent Music Committee, a Redcliffe Advisory ambassador, and a research partner on AI and music at the University of Sheffield. In 2022, ILĀ co-founded TRANS VOICES, the UK’s first professional trans+ choir, which debuted with a music documentary for Guardian Films.

In this interview, ILĀ speaks about the making of murmur, working with artists like Imogen Heap and Guy Sigsworth, and recent projects that connect voice, technology, and live performance.

Your latest EP, murmur, features collaborations with groundbreaking artists like Imogen Heap, Guy Sigsworth, and Reeps One. What’s the through-line connecting all these voices, and what did you learn from working with them?

Murmur comes from a very deep and instinctual part of me - and is mostly all born from the voice in some way or another.

Of course, my identity as a brown trans person strongly informs my experience of life - and it’s lead to a lot of trauma - I think my early creativity was born from a very urgent need to give voice to that. I’m as interested in creating choral music with human singers, as I am in making electronic music or working with quantum.

For me, I find just as much beauty and possibility in both - I like go to the places I’m most scared of - because there’s usually some mystery there I want to tap into. I feel that intense curiosity in me is sparked around people like Imogen, Guy and Reeps One.

With the help of Portrait XO, I created hybrid voices of Imogen and I and Bishi and I. They are like a playful child - surprising, unpredictable. With Reeps One, there has been this exploration of permission - that the first idea is good enough.

But also finding a second self within these hybrid voices - that can almost act like a sparring partner - ever expanding what we can do. Guy would bring out this oxygenated side to my voice, putting together these phrases from what I would sing which I thought would be impossible for me to re-sing. Weirdly, I found myself able to - and went through these huge expansion of what was possible for me. 

Photo credit: Sophia Stefellé

You’ve spoken at Oxford University, collaborated with the European Space Agency, and composed with quantum computing. What’s the wildest or most unexpected place your music has taken you?

I’m going to be singing with Nightingales with Sam Lee and violinist and composer Anna Phoebe. I’m so curious about it - being in nature, singing - creating with these mysterious little birds in the woods. I’m hoping to create a piece of music from it for Earth/Percent - the music industry’s climate foundation -  who I’m on the music committee with. 

You’ve worked with some of the biggest names in music, from Björk’s collaborators to Grammy-winning artists. Looking back, what’s been the most defining moment of your career so far?

I think Murmur marks a really shift for me. Creating it with Imogen Heap, Guy Sigsworth, Bishi, Reeps One, Portrait XO, TRANS VOICES and Jake Miller just blew me open. I admire them all so much and have this deep bond of trust there. I feel I found this more instinctive part of my voice. A freedom. It’s also the first release that has my first steps into quantum computer music in it. This also said, in the spirit of quantum, I actually genuinely feel that the most defining things are always the smallest. The culmination of all the momentary interactions - a going this way rather than that way in a melody or a conversation - those things change everything. I love the chaos that brings to life. 

You’re constantly pushing into new territory—whether it’s AI music, DNA sequencing, or sonic storytelling. What’s next for you?

My next single Recurse comes out on 25th April. It has this playful rage in it - like a lightness but then it also felt so cathartic - like I could finally really embrace noise. I made it using quantum reservoir computing in partnership with MOTH. As part of it there will be an infinite quantum radio that will continuously stream an ever evolving of the piece that people can interact with. I got to do a performance of it at Havard a few weeks back. 

I’ve also co-created my first installation piece UN/BOUND with TRANS VOICES and MONOM which is part of theFeel The Soundexhibition at The Barbican. It’s a immersive holographic choral piece with electronics I’ve made using quantum. Audience members can also transform their voices into TRANS VOICES’ hybid voices using a tone morphing model by Neutone. The exhibition is going to be going on a 5 year world tour. The exhibition opens May 22.

• Interview by @ninakeh

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98 Poly Breaks Down Her DIY Sound

Growing up between the edges of Greater London’s rave culture and the open spaces of the British countryside has shaped the sound of producer, vocalist, and artist 98 Poly. Her music fuses industrial beats, analog synths, and manipulated vocals with surrealist lyrics that explore themes like time, perception, and imagination.

Tipped early on by Jamz Supernova as ‘one to watch’ after her debut single ‘360’, 98 Poly quickly gained support across BBC Radio 1’s Future Artists, BBC Radio 6 Music, Reprezent Radio, and the British Council’s Selector Radio. Her following singles—‘PIIAG’, ‘Earthstar’, and ‘Brakes’—cemented her as a rising figure in the UK’s underground electronic scene, earning her titles like BBC Radio 1’s Next Wave Artist and Dancefloor Moment on Jaguar’s Radio 1 Dance show.

She’s played live at venues including Corsica Studios, Pickle Factory, The Glove That Fits, Windmill Brixton, and The Lower Third, and has supported artists like Anthony Szmierek at his sold-out London headline show. In 2023 and early 2024, she took her evolving live set to new audiences in Bristol and Berlin.

Now, with her track Shallow Man becoming a fixture in her live sets—and the focus of her upcoming shesaid.so video breakdown—98 Poly opens up about her creative process, the challenges of producing solo, and how she finds inspiration on the days it doesn’t come easily.

What’s the story behind Shallow Man? 

For your shesaid.so video, you’ll be breaking down the making of Shallow Man. What’s one part of the production or songwriting process that you think more people—especially new producers—should pay attention to when crafting a track?  

I actually think knowing what part of the process you’re in is the most important thing to pay attention to. I think of it like wearing two different hats and making sure you’ve got the right hat on for the stage of the process you’re in. The 1st hat is playful. It’s the initial stages of songwriting/production and should be treated as playfully as possible; get all the ideas down, follow the thread, don’t ask too many questions or look for answers. Just get out of your own way.

Once you’ve got a busy messy project, put the other hat on. Look at the details, listen analytically, ask the questions. Where is everything sitting and is there room for it all? Don’t be afraid to mute/get rid of parts that aren’t adding anything to the production - bounce them out and find a home for them in another track.

You mentioned playing Shallow Man 101 times in your live shows to refine it. What changed from the first live version to the final recording?

I’ve always found it so helpful demo’ing a new track in my live shows - it’s live market research. I used to have 16bar pre-chorus that was super stripped back, mostly piano and vocal fx. I love exploring my more ethereal side in the music but this wasn’t translating live, instead it was making the track lose momentum. That was the biggest change, plus a couple structural changes. Nothing is ever lost though, I’ve recycled the ethereal pre-chorus and put it into something new !

As a producer, vocalist, and instrumentalist, you’re fully in control of your sound. What’s the most rewarding—and most challenging—part of being so hands-on?

Having autonomy over my sound is definitely the most rewarding part! I know what I like and don’t like, I know what I want to say and where I want my music to sit and having full creative control allows me to be my most authentic self.

I’ve sometimes found working in teams or with other producers on my own music has proved more detrimental than positive. People tend to have an idea of what you could or should sound like and in my experience, too many opinions in the early stages of the songwriting and production isn’t a good thing.

Get a small team of trusted ears around you and if you want opinions on your songs, ask the ears you trust. There’s a really amazing community of artists, producers and musicians in the UK underground scene that I’ve been able to connect with because of the music I make and it’s been so rewarding being part of that community; playing shows together, bouncing ideas to each other, and generally supporting one another on the ride! 

The most challenging part is knowing when a song is done - I guess it’s never really done but knowing when to say ok this has gotten to a place I really like and I’m happy now. Also not having enough hours in the day ! ! !

For those just starting out in music production, it can feel overwhelming—so much gear, so many techniques. What’s one thing you wish you knew when you first started producing that could help new artists today?

From someone who used to produce music that genuinely sounded like it was being played inside a baked bean tin, pay attention to frequencies like your life depends on it. If you have multiple elements sitting in the same frequency range, they’re going to get lost. Make space for each instrument and save yourself / your mix engineer a big clean up job!!

Tips for finding your creativity on a tough day

I’m always stealing from books, making a note of street names, voice-recording weird sounds when I’m out, taking photos. They usually collect dust on my phone or in my notepad but whenever I’m stuck for an idea I have a huge back catalogue of words, sounds and images that can jump-start an idea.

Creativity comes in so many forms, sometimes writing the song or producing the track isn’t working one day and that’s ok.

Step away from it, find inspiration or creativity elsewhere. Open a book, draw, go for a walk somewhere you’ve never been before. Listen to your body, inspiration can be found in lots of places.

What are you listening to at the moment?

Love being asked this! A list of some songs I’ve got on rotation that I hope will positively influence your life:

• Makes u wonder - Bassvictim

• FUN! - KUČKA

• K1 - Aloka

• Obvious - Oklou

• Air Bnb Sonnet - The Hellp

• Freak Baby - Izzy Camina

• Depression Chamber - Samuel Organ

• HOCKEY PUCK - Sweets

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98 Poly on Instagram | Music

KARABA: The Juno-Nominated Producer Drops New Single ‘Siren’ and Announces Upcoming EP TIDES

Photo Credit: Paulo Vivanco

KARABA is a French-Congolese DJ/producer and former professional dancer at the forefront of Afro house.

A professional dancer-turned-DJ and producer, she’s quickly established herself as one of the most exciting new names in Afro house. Now based in Los Angeles, her path has taken her from France to Canada to stages across Europe and Asia, blending her global influences with a sound grounded in her Congolese heritage.

With a combined following of over 1 million on TikTok and Instagram, KARABA is using her platform to spotlight rising Afro artists in her sets and bring more visibility to a scene she’s deeply invested in. Whether performing alongside Rampa of Keinemusik or sharing new music from her home studio, her focus remains the same: to create from a place of authenticity.

Earlier this year, she earned her first Juno Award nomination for Underground Dance Single of the Year with her breakout track Mad Mess.

Her latest release, SIREN, continues to build on that momentum—setting the tone for her upcoming EP “Tides”, which fuses Afro house rhythms with her background in dance and deep respect for the genre’s origins.

Your journey has taken you from being a professional dancer for Drake, Camila Cabello, and Selena Gomez to becoming a Juno-nominated DJ and producer. How did that transition happen, and what inspired you to step behind the decks?

I reached a point in my career where I felt like I had achieved what I set out to do as a dancer. Touring with A-list artists was my ultimate goal when I started dancing at seven years old, and I had accomplished that. But as a commercial dancer—mostly performing for other artists—I realized I couldn’t fully express myself the way I wanted to. I knew I had a bigger story to tell, and to do that, I had to step outside the dance world in a new way.

For many dancers, the next step is choreography or teaching, but I never felt like that was my path. I had always admired DJs, especially from going out to underground scenes in LA with my friends. So in 2016, I decided to take classes and learn how to DJ—and that’s really how it all started.

You’ve built a massive social following and use it to spotlight rising Afro acts. What advice would you give to DJs and producers looking to grow their audience while staying authentic?

Do what feels right to you. It’s easy to see what’s working for others and try to recreate it, but the key is finding what makes you unique and leaning into that. When I first started, I was just excited to share my art, so I never held back on who I was. I’m a high-energy DJ—I love to dance, smile, and let loose—and I want my audience to feel that with me. So I embraced that fully, and I think that’s what helped me build my audience. People connect with artists who are unapologetically themselves—at least, that’s how I connect with other artists—so that’s always been my approach. 

What’s the story behind your new single Siren?

My whole upcoming EP is about my relationship with water and how that translates into my everyday life. 2024 was a very chaotic year for me, and I kept having dreams about water while also watching a specific documentary about deep diving called The Deepest Breath. That inspired me to explore the different ways we navigate challenges, drawing a parallel between that and diving into the ocean.

With that in mind, Siren represents the moment when I’m deep in the water, where I’ve finally found calmness and am moving with the flow rather than against it. The bridge is my favorite part—it’s heavily inspired by my love for Daft Punk. I wanted to create something mystical, galactic, and yet somehow hopeful.

If you could go back and give one piece of advice to yourself at the start of your DJ/producer career, what would it be?

Don’t overthink, especially as a DJ. I’m an overthinker, and it sometimes kills my creativity, especially when I first started DJing. I’d spend so much time perfecting my sets, which is fine—dedicating time to your craft is important. But I’ve learned that at a certain point, you have to let go and just throw yourself into it. I often strive for perfection, but that doesn’t exist. Some of my best sets have been the ones where I just flow with the music, without overthinking.

Coming from dance, I’ve always tried to perfect things, but DJing has helped me slowly break free from that mindset. Now, when I step behind the decks, sometimes I have an idea of what I want to do, and other times, I just let myself freestyle. It’s so freeing. The same goes for producing—I don’t overthink it. In the studio, I just let myself flow and see where it takes me

What’s your best networking tip?

Don’t be afraid of rejection. Last year was tough for me—I felt like I wasn’t reaching the places I thought I should be. It forced me to sit down and rethink how I needed to move forward. So, I knew I had to get myself out there and start networking. One thing about me is I don’t handle rejection well, but I quickly reminded myself it’s just a part of the business.

You have to push past that and really put yourself out there anyway. I knocked on a lot of doors, and I told myself, ‘What’s the worst that could happen? A no.’ And then you move on. It’s all about staying persistent.

I’ve had times where networking led to immediate opportunities, and other times when it paid off months or even years later. You never know what a connection will bring, but you have to keep showing up and putting yourself out there. That’s my best networking tip—don’t let rejection stop you, and always keep going.

For young women and underrepresented artists trying to break into the electronic music scene, what’s one lesson you’ve learned that they should know?

Embrace solitude. I still struggle with seeing many women like me in the genre I’m part of, and I’d love to see more of us represented. But I’m also aware that there are women who’ve paved the way before me, and even though I might not see full equality during my time, I’m still a part of that movement. That thought keeps me going.

We don’t talk enough about how isolating it can feel, especially as a Black woman in the electronic music scene in this day and age. That’s a very real experience. But accepting it, while reminding yourself that you’re contributing to something bigger—that the next generation will thrive because you exist—that’s what it’s all about.

• Interview by @ninakeh

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KARABA's new single 'Siren' is out now along with the announcement of her upcoming TIDES EP. 

Instagram & TikTok | Website

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Neva Demure’s "Antidote" Blends ALT Pop & Electronics with Confessional Songwriting

Photo Credit: Gil Curujeira

Neva Demure is a genre-defying artist, songwriter, and multi-instrumentalist reshaping the sound of electronic and alternative music. Emerging from the New York club scene with her hyper-pop debut EP Shame to Vengeance, Neva first made waves through tongue-in-cheek, hyper-sexual lyricism and bold sonic experimentation.

Now based in Berlin, she enters a new chapter with the release of her debut album Antidote via Movement—one marked by emotional rawness, stripped-back instrumentation, and unfiltered storytelling.

Written and recorded in 2024, Antidote is Neva’s most personal work to date, delving into themes of mental health, love, identity, and her lived experience as a trans woman in today’s political climate. Her latest single, Unnatural, channels that intensity into a fierce blend of distorted guitars, ghostly electronics, and urgent vocals—offering a darker, heavier edge to her evolving sound.

What’s the story behind your debut album Antidote?

Each song is its own antidote. They are like different flavors meant to be taken for different problems, while you´re just trying to look for a one-size-fits-all solution. It's just that discontent with life that exists inside and you don't know why. Probably childhood trauma or something, you try all these easy antidotes instead of facing yourself. Drugs, sex, toxic relationships, spending money, career obsession. They just always come up empty. There's no solution to any of the songs, until the end of the album. Even then, maybe it's only a solution if you´re looking to find one. By that point maybe it doesn't even matter.

Was there a specific moment while making Antidote that felt like a breakthrough for you?

When I started I wasn't sure if I was going to be making an electronic album or not, I knew I wanted a bit of guitar on it but assumed I would still be programming drums and using a lot of synths, creating more of a modern pop album. It wasn´t until I wrote Trauma Curl and realised it needed real drums that the album started transforming into a type of electronic/live acoustic instrument hybrid. I feel like that moment set the sound for the rest of the album. It was way more interesting to have a live drummer than to program a bunch of breakbeats and complex rhythms. It feels more human as a result. 

If Antidote were a film, what kind of visuals would it evoke, and who would direct it?

Claustrophobia, female lead who is crying a lot and smoking cigarettes, directed by gaspar noe climax vibe, a girl that likes to party wink wink.

As an artist navigating both the electronic scene and the queer music space, what changes do you hope to see in the industry for trans and non-binary artists?

I think there's a lot of assumptions about trans people in music and also just the music trans and queer people make and consume. I think it could be a lot uglier. I want more doom in trans music.

I´m really into Ethel Cain right now, her lyrics in particular. They are twisted. I like happy, hyperpop type music too but I feel like we need more of a sonic spectrum; I want to hear about trans people talking about how fucked up their lives are rather than this “I´m coming out”/”I will survive” anthem narrative. Where's our trans Kurt Cobain or Courtney Love?

The world is fucked, BRAT summer is a psyop. It doesn't matter if you're trans or not. 

Berlin has a rich underground music culture. How has being part of this scene influenced your approach to music and performance?

I totally get the reason why, say David Bowie, changed his sound so drastically upon coming here. Even though the wall is gone, it still has a thick energy. I really enjoy living here, even though there's alot to dislike about it.

My friends and community are amazing, and people don't care about as much superficial stuff as they do in New York or Paris. Berlin´s history didn´t inspire me to make minimal synth music, but it did inspire me to say something true to myself. 

Photo Credit: Gil Curujeira

Do you ever feel like music allows you to say things you wouldn’t otherwise say in words?

Probably not, I´m a yapper. I love talking. I could talk all day.

I like that in my music I don’t have to worry about being annoying. I can be funny, dark, heartbreaking, slutty, or whatever.

I like the idea of making my friends or fans think without having to actually talk to them. I like the idea of me putting my ideas into their head while they're cooking pasta or taking a bath.

What's your favorite/least favorite thing about making music?

Favorite thing is creating a world.

I loved making this album because I got to create a world to escape into lyrically, sonically, and visually.

Least favorite is probably the branding element. It feels like taking this baby you made, this whole world you put your heart into, and watering it down into something that feels like an advertisement.

Necessary evil, I'm actually starting to like it more I´m just really bad at it. I´ll get better. 

What are you listening to at the moment?

LOL in preparation of the album release I've been listening to bossa nova music a lot. Like Girl from Ipanema, Stan Getz and João Gilberto style. It's driving my girlfriend crazy and she says it's elevator music but it has been calming me down. I've been listening to Coil alot as well. PJ Harvey and Björk are always mainstays. My friend Lexci reminded me of Pantera and I forgot how good they are.

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shesaid.so Joins its Brighton Chapter at BMC 2025 with Signature Networking Breakfast and Industry Panel

shesaid.so is pleased to confirm its participation in Brighton Music Conference (BMC) this May, in collaboration with its Brighton Chapter.

As part of the programme, shesaid.so will host its annual 'Breakfast Club' networking event on Thursday 22nd May at The Lazy Fin, located on Brighton’s seafront.

Organised in collaboration with the Night Time Industries Association (NTIA), this intimate morning event is designed to bring together shesaid.so members, BMC delegates, and local music industry professionals for informal networking and conversation to start the day.

Attendees will be served a selection of breakfast treats and have the opportunity to connect in a relaxed, welcoming setting. In addition, free professional headshots will be offered on site courtesy of Downtown, with photography by acclaimed local photographer Ellen Richardson.

The following day, Friday, 23rd May, shesaid.so will host a panel discussion at BMC titled: "Beyond the Buzzword – Why Community is Essential in the Music Industry"

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"Beyond the Buzzword – Why Community is Essential in the Music Industry"

For over a decade, shesaid.so has emphasised that community is the backbone of every artist and creative in the music industry. But what does that really mean today? In an era where platforms commodify "community" as a marketing tool, how do we foster authentic spaces that fuel creative careers, audience engagement, and industry sustainability?

This session will examine the real value of community in the music industry beyond networking, Discuss sustainable models for artist and industry communities that aren’t just monetised fan groups and Address the challenges of maintaining authentic connections in an era of AI, social fragmentation, and shifting digital landscapes.

Speakers confirmed for the panel:

- Nadine Noor (Pxssy Palace)

- Melissa Kains (Sisu)

- Nina Kehagia (shesaid.so)

- Vix Brand (shesaid.so)

Moderator: Nikki McNeill (Global Publicity)

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Info & Tickets: Brighton Music Conference 2025

Amanda Barker, Day-to-Day Manager for Becky Hill, on Building Global Tours and Life Behind the Scenes

Amanda Barker is a tour and operations manager with over a decade of experience working with some of the biggest names in music. She began at Ibiza Rocks Group, where she was Chief Artist Liaison before becoming Operations Manager, overseeing shows for artists like Ed Sheeran, Biffy Clyro, and David Guetta.

From there, she moved into touring full-time, taking on roles such as Tour Manager for Alison Wonderland, Production Assistant on Bastille’s Wild Wild World tour, and Tour Coordinator for Harry Styles’ Treat People With Kindness tour.

She currently works as the Day-to-Day and A-Party Tour Manager for Becky Hill, where she manages tour logistics, artist schedules, marketing timelines, and on-site support.

Amanda has also worked with Il Divo, Jess Glynne, Jason Derulo, Paloma Faith, Ellie Goulding, Noah & the Whale, Peter Andre, and The Specials. Known for her sharp logistical skills and calm approach under pressure, she’s become a trusted presence in live music operations.

How did you get your start in music?

When I was 22, I was living in Mallorca and heard that Ibiza Rocks Group were opening a hotel there. They were looking for an Artist Liaison to look after their booked talent. I didn’t even know what that role really meant at the time, but I knew I loved working with people and I had a driver’s license, so I went for it, and got the job! After a couple of years, I was promoted to Production Manager, which meant I was pretty much running the entire event. That role introduced me to loads of Tour and Production Managers, and those connections eventually led me to life on the road.

Describe a day in your life as tour manager.

These days, my role has evolved more into day-to-day management, but I still take on a tour management role for Becky, specifically looking after her and the artist party, while our lead Tour Manager, Emily Holt, oversees the wider tour operation.

A typical day on the road starts early. If we’re not heading to an airport, Becky and I usually try to fit in some exercise, a run or a gym session, depending on where we are. From there, I’m making sure everyone’s where they need to be, that Becky’s got everything she needs, and that the day runs smoothly from soundcheck to showtime. I’m the main point of contact for the artist side of things, so I’m juggling logistics, energy, and wellbeing all at once.

No two days are ever the same, but that’s what keeps it exciting. It can be full-on, but it’s such a privilege to be part of making live shows happen from behind the scenes.

Outside of touring, as a day-to-day manager, I’m across everything from scheduling and travel to brand partnerships, releases, and long-term planning. It’s about making sure every piece of the puzzle fits together so the artist can focus on the creative. It’s definitely a juggling act, but I love being that steady presence behind the scenes.

Amanda Barker & Becky Hill

What’s the most exciting part of managing Becky Hill’s live operation right now — any moments or milestones you're especially proud of?

When I first started Tour Managing Becky in 2019, it was just the two of us, a DJ, and two backing vocalists, traveling around in a splitter van. To think about how far we've come since then is honestly surreal.

We've played Glastonbury, toured Europe, Australia, New Zealand, and the U.S., and recently sold out a UK arena tour with a team of 70 people, it’s been such an exciting ride. Every milestone feels like a huge achievement, and I’m incredibly proud of the growth, not just in the live shows but in the entire operation.

Off the stage, Becky’s had two top 10 albums, countless hit records, and won two BRIT Awards, which really shows how impactful the management side has been too. The rewards of being part of her team go far beyond the live shows, it’s about seeing her artistry and success flourish across the board. The most exciting part is watching how both sides of her career, live performance and music, continue to intersect and elevate each other.

And of course, building a solid, dynamic team that supports all of that along the way is something I’m especially proud of.

What’s one lesson from your early days in the industry that still shapes how you run a tour today?

One of the biggest lessons I learned early on is the importance of flexibility and staying calm under pressure. When I started in the industry, I didn’t have the big team or the resources we have now, so it was all about making do with what we had and being resourceful. Things rarely go according to plan on the road, and learning to adapt quickly while keeping a level head was crucial.

Now, I approach every tour with the mindset that no matter how well you plan, something unexpected will come up. It’s about finding solutions fast, keeping the vibe positive, and remembering that at the end of the day, it’s all about the music and the experience for the fans. That lesson of staying adaptable, keeping calm in chaotic moments, and managing the energy of the team is something that’s shaped how I run tours today.

You’ve gone from artist liaison to managing major global tours — what’s the key to building trust with artists and their teams? 

Building trust with artists and their teams is all about consistency, clear communication, and respect. When I first started in the industry, I quickly learned that you can’t just be the "person in charge" you need to build relationships based on understanding and reliability.

Artists are incredibly busy and often under a lot of pressure, so knowing they can trust me to handle things behind the scenes allows them to focus on their craft. It’s not just about managing logistics, it’s about understanding their needs, personalities, and creative processes. Being a steady presence who is proactive and responsive, especially in high-stress moments, helps build that trust.

Over time, as I’ve worked on bigger tours and with more complex teams, I've found that it's also key to be a good listener and to foster a positive, supportive atmosphere. People perform better when they feel understood, valued, and supported - whether it’s the artist or the crew. Trust grows when everyone feels like they’re part of a team working towards the same goal.

What advice would you give to women who want to break into tour management or live production?

My advice would be to jump in and gain as much hands-on experience as possible, don’t be afraid to start from the ground up and work your way up.

The live production world can be daunting, but the best way to prove yourself is by being reliable, proactive, and willing to learn at every level. Whether it's working as a production assistant or volunteering at shows, those early experiences will give you the foundation to understand what’s involved in running a tour.

Equally important is building confidence in your own abilities. The industry can sometimes feel like a male-dominated space, but the skills we bring to the table; attention to detail, multitasking, communication and the rest, are unrivalled and completely invaluable.

Don’t second-guess yourself, and don’t be afraid to speak up and ask questions. Lean on people, finding a mentor or a supportive community of women in the industry can be a game-changer. There are so many opportunities out there, and having women who support each other makes the journey a lot more rewarding.

Lastly, stay passionate and persistent. The road isn’t always easy, but the sense of accomplishment you get at the end of the day, standing back, watching an audience light up and knowing you’ve helped bring that show to life, is something else. 

What’s one item you never go on tour without?

Definitely my noise-canceling headphones. Whether it’s on the plane, on a tour bus, taking a call or just trying to block out the chaos , they’re my lifeline. Touring can get hectic, so having that little bit of peace and quiet is essential for staying grounded. Plus, they help me zone into music or whichever meditation i’m listening to, which is always a great way to reset during the madness.

After a long run on the road, what’s your go-to ritual to reset and recharge?

After a long stretch on the road, my ideal ritual is to head out to the countryside with my partner. There’s something incredibly refreshing about being surrounded by nature, away from the chaos. It’s super easy to get caught up in the intensity of tour-life so I find it’s the perfect way to reconnect, reset, and put things into perspective a little bit. It’s only ‘rock n roll’ after all. 

Sleep is definitely a priority too, I catch up on rest and let my body fully recharge. I also focus on getting back into a routine, whether it’s a good workout or just cooking at home. It’s all about finding that balance and grounding myself after the intensity of life on the road.

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Tresor Berlin Resident Nadia Struiwigh Releases New EP ‘X1 Shift’ on Blueprint Records

Nadia Struiwigh, the Berlin via Rotterdam-based DJ, live performer and producer, returns to James Ruskin’s Blueprint Records this April with her new EP X1 Shift. Known for her hybrid approach to techno and ambient electronics, Struiwigh continues to refine her sound through hardware-driven experimentation and improvisation.

Following previous releases on Blueprint (XTERNALIA, 2022), Dekmantel (Birds of Paradise, 2023), Nous’klaer Audio (Pax Aurora, 2021), and Central Processing Unit, X1 Shift marks a new chapter in her evolving discography. Technically centred around tools like the Korg Electribe, Yamaha DX200, NI Maschine+, Arturia Minifreak, and a selection of software plugins, the EP is both a personal and sonic statement.

In 2024, Struiwigh also launched her own label, Distorted Waves, focusing on hardware-based and experimental electronic music.

As a performer, she moves fluidly between ambient and peak-time techno, with live sets ranging from beatless soundscapes to high-energy improvisations. Her versatility has seen her perform at both concert venues and clubs, including her recent residency at Tresor in Berlin. She regularly features on respected platforms such as Resident Advisor, Red Light Radio, Bleep, and Phantasy.

Beyond the stage and studio, Struiwigh collaborates with leading music tech brands and offers coaching sessions and production courses, supporting emerging producers worldwide.

What’s the story behind your new EP X1 Shift?

This EP actually came together about two years ago, and I really feel music finds its own perfect moment to emerge into the world. I’ve worked with James Ruskin before—he’s such an inspiring human being, always radiating positivity and realness. That’s something I resonate with wholeheartedly.

Around that time, I was in the midst of a huge personal shift—redefining who I am, the company I keep, and the musical direction I wanted to explore. I’d lost my way for a bit, and on top of that, both of my parents fell quite ill. Everything in my life got shaken up. Yet amidst the chaos, my own vision and career began to blossom with a wonderful, supportive team around me.

I feel extremely grateful. This EP has a darker edge because I was releasing so much pent-up energy, but I still wanted it to be hypnotic—a reflection of this alternate reality I was living in.

You have a deep connection to hardware synths and live performance. What’s your go-to piece of gear, and why does it inspire you?

That’s so true! I’m a big nerd at heart. Growing up, I always felt I experienced and saw things differently. My dad worked in technology, which was super inspiring—I think it rubbed off on me because I connect so naturally with music equipment interfaces.

My go-to piece of gear is the Korg Electribe EMX. I never go on stage without it. If I do, I feel exposed and less confident. It’s an older unit (early 2000s), so I even carry a spare just in case.

Rather than it purely “inspiring” me, it’s like we speak the same language. It delivers the sounds and grooves I want to share with the world.

For those discovering your music for the first time, how would you describe your sound in just a few words?

I’d say it’s otherworldly. I often feel like I’m not entirely present on this planet, so I channel stories from both the past and the future. Sometimes it’s techno, IDM, ambient... whatever resonates at that moment. It does have a strong UK influence, funnily enough, even though I’m very Dutch. I love combining leads, trippy elements, and eclectic beats—but ambient music is my first love and the language that comes most naturally. Most of my albums carry that signature. 🌌

You’ve released music on Blueprint, Dekmantel, and Nous’klaer, and now run your own imprint. What advice would you give to artists trying to navigate the world of independent labels?

It’s been quite a ride, but a fulfilling one. Challenges are part of the journey and shape us into better artists. The music scene today can feel hectic and overwhelming compared to when I started out (around 16 years ago!).

My main tip is: keep pitching your music, but always have a plan B. A big, well-known label might sound amazing, but that doesn’t guarantee they’ll truly care for you or your art.

My best experience was releasing my first album with CPU—Chris was transparent, supportive, and set realistic expectations. That taught me the importance of working with people who align with your vision, because you’re entrusting them with something very personal and precious.

I started my own label because I felt there was a vibe missing—something reminiscent of that open, free 90s playground, where multiple genres can come together in a bigger story.

I also want to bring in different forms of art—painting, fashion, gaming—without the pressure of strict release schedules. My honest advice in today’s landscape: consider self-releasing if you can. Believe wholeheartedly in your art, and surround yourself with a team that believes in it just as much. That synergy counts for so much more than a fancy label name.

You work with leading music technology brands and offer coaching for producers. What’s the biggest mistake you see emerging artists make when trying to develop their sound?

It’s been such a humbling experience. I love sharing knowledge and seeing the amazement on new artists’ faces when they pick up something fresh.

Tech evolves so quickly, and I’m grateful to have a front-row seat so I can pass on insights. I don’t really like calling anything a mistake, because everything is a lesson. But if I had to point something out, I’d say a lot of emerging artists want instant results—things to blow up fast—without first grounding themselves in their identity and purpose.

That can lead to feeling lost later. Nowadays, it’s easy to focus on appearances, but I believe truly great artists shine from the inside. That’s what others see and value, be it fans, labels, or brands.

What’s your favorite/least favorite thing about making music?

I genuinely love the entire process—pouring my heart into it, dealing with frustration when something won’t click, discovering new workflows. It’s all part of birthing something that feels uniquely personal.

If I had to pick something annoying, it would be when tech issues randomly pop up—like loose cables or a synth that decides to go out of tune for no reason. But then again, technology is a lot like us humans: we all glitch out once in a while! 😅

• Interview by @ninakeh

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OUT now! X1 SHIFT

Nadia Struiwigh | Instagram

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Ray Lozano: From DIY Artist to 62 Million Streams & Sophomore Album 'SILK&SORROW'

Ray Lozano, the German-Filipino singer, songwriter, and producer from Cologne, has quickly established herself as one of the most compelling voices in indie R&B and future soul. Following her groundbreaking debut album Pairing Mode in 2023—which garnered over 62 million streams and secured Lozano prestigious recognitions such as the Holger Czukay Award and NICA artist residency—she continues to innovate and captivate listeners worldwide.

Lozano has now released her highly anticipated sophomore album, SILK&SORROW, via Melting Pot Music. Known for her meticulous production and boundary-pushing sound, the new record sees her diving deeper into the emotional complexities of modern love, vulnerability, and the delicate balance between connection and detachment.

Her latest single, 'CAN’T LOVE', co-produced with long-time collaborator Samon Kawamura, showcases a return to traditional R&B roots while maintaining her experimental edge. With critical support from influential platforms such as CLASH, COLORS, BBC 1Xtra, and a featured slot on Spotify’s EQUAL playlist, Lozano's music continues to resonate deeply.

In this Q&A, Ray Lozano opens up about the inspirations behind her emotionally charged new single, navigating vulnerability through music, and the powerful narrative woven throughout SILK&SORROW.

What’s the story behind your album SILK&SORROW?

The title says it all: "Silk" gives you warmth and comfort, while "Sorrow" hits you with an emotional gut punch you didn't see coming. It's a reminder that softness and pain aren't mutually exclusive—they're two sides of the same coin, constantly present in our daily lives, whether we're ready for them or not. 

You’ve had support from COLORS, BBC 1Xtra, and Brick Lane Jazz Festival—what’s been the biggest moment in your journey so far that made you feel, "This is really happening"? 

When I got the confirmation for the Brick Lane Jazz Festival, it felt like a dream. Playing live with my band is always special, but this festival—my first show abroad—feels like something truly meaningful.

How do you find the balance between making personal music and making it relatable to listeners?

It’s all about laying your truth bare in your music while making sure the feelings behind it hit a universal nerve—because at the end of the day, we’re all just looking for something that speaks to our own chaos.

Describe your music in 3 words. 

Melancholic, Reflective, Vibey

What’s your advice for artists who are just starting out with home production and want to make high-quality music? 

Home production is all about finding your vibe—focus on learning the basics, experiment freely, and let your creativity shape the sound.

What’s one underrated technique that helps artists make high-quality music in a DIY setup?

Layering sounds like a mad scientist—stacking different textures and frequencies can turn a basic track into something that feels way more polished, even if your setup is as DIY as it gets.

What is your top networking tip for connecting with the right people in the industry?

Forget the forced small talk—just be yourself. No need to over-perform. Listen, ask questions, and focus on real connections. The right people will vibe with your authenticity.

3 things you can’t live without in your bag. 

Glossier Generation G in Leo, EarPods, Lucky Coin

What are you listening to at the moment?

The Mighty Tiny & The Many Few

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NYX: The Vocal-Electronic Collective Turning Choral Music Into Sonic Ritual

NYX | Photo Credit: Joseph Lynn

After years spent weaving myth, ritual, and raw sonic experimentation into their live shows and collaborative projects, London-based vocal and electronic collective NYX are finally stepping into the spotlight with their self-titled debut album, NYX (out now) via their own imprint, NYX Collective Records.

Led by composer and music director Sian O’Gorman, the group has built a reputation for crafting intense, otherworldly performances that merge choral tradition with futuristic electronics. Now, that energy is bottled into ten shape-shifting tracks that roar, whisper, and howl with power.

The first single, “Daughters,” arrives as a bold initiation—an invitation to descend into grief, rage, and rebirth, and to meet the wildness that lives within us all.

We caught up with NYX to talk about the process behind the record, reclaiming the voice as ritual, and what it means to create from a place of collective vulnerability.

What was the creative spark behind your debut self-titled album, NYX?

This album is a culmination of our many years singing, performing and collaborating together, so to me the initial spark feels like the tenderness of connection and togetherness through the group - the memories of where these pieces originated and the different people who have shifted through the project as it’s blossomed and grown.
The music itself is incredibly colourful, psychedelic and cinematic ~ it's a big old journey of raw human emotion expressed through a range of voices. Voices painted and shapeshifted through shimmery and expansive electronics. 

What are the biggest challenges and freedoms that come with operating independently?

Challenges - finances, engagement, admin. When you release music yourselves, I’m often comparing our output to artists on established labels that have a lot more money, human resource and favourable algorithms behind them. But there is so much to be learned in the process of putting out music, and it's all about finding more free range super star experts & cheerleaders in the field to help - we’ve been incredibly lucky to have support from State51 (who we have a P&D deal with), Andrew Ellis (huge legend / supportive NYX pal), and Sugar Factory PR who help connect us to the people we wouldn't otherwise have access to.

Philippa Neels (Creative Director / Co-Founder of NYX) has also been nurturing a wide expanse of industry relationships since our early days, and that has been by far the most helpful and effective strategy in terms of getting our music out there to the people that really care and support us. The DIY spirit is the biggest freedom for us - there's something about being brave enough to attempt putting the music out yourselves that means that people around you are extra keen to get stuck in, help out and think outside the box with us.

Your music has been featured in films, video games, and now an upcoming BBC TV score. How does composing for visual media differ from creating for a live performance or an album?

I love working to a creative brief - particularly something visual. The first part of any collaborative process we take on is to develop sound “swatches” in response to the themes or direction of the project that's been passed to us. Whether it's responsive to live, music led, or visual media, this is a really important step as it helps to develop a sonic language between us and whoever we’re working with - a foundation of mutual understanding for the work to grow out from.

I think in some ways I prefer the limitations and boundaries of an external project (as long as they're relatively aligned with our musical and creative values) - there’s something about having a structure of a brief that opens up a sense of lightness & freedom to me. I can experiment with sounds and approaches to composition that I may not have otherwise considered.

I love the pressure of a deadline to keep me motivated & inspired, and I appreciate the clarity of a collaborative agreement - the collective understanding of what everyone’s role is and a structure to the feedback process.

I've really learned over the years that I find working that way much more grounding and connected than wide open ambiguous creative spaces, so I now apply that to all ways of working - and that applies to  albums and live shows as well. We give ourselves briefs, stories and deadlines to work towards. However, it's taken a really long time to be at peace with this preference within myself - I've got this voice at the back of my head saying I'm not a real artist if I prefer working within structures and deadlines, that it's somehow less authentic or creative. So I’ve had to go through a big process of accepting that this is just how I am, being grateful that I've found a way of working that flows, and that it's just different - not any better or any worse than anyone else's approach.

NYX | Photo Credit: Joseph Lynn

What is your top networking tip for connecting with the right people in music?

We have a lot of meetings with a lot of people, and I think it becomes very clear very early on in the conversations if the people we’re talking to have a genuine interest in our music and approach or not. You sometimes encounter industry experts who haven't really taken the time to get to know you or your work before they start to offer out wisdom or generic advice, and while I do think it's important to listen and assess whether that information is valuable from an open mind (because you can sometimes find a gems inside mansplanations, it is possible).

I don’t really want to work with someone unless we have a genuine interest in each other's work and there is a feeling of reciprocity and mutuality in what both sides can offer.

Like it's coming from a place of creativity and connection. I also think we really benefit by collaborating with a lot of people that come from artforms outside the music industry (theatre & visual art particularly). Diversity in the creative ecology has always proved beneficial for us. More than anything it has helped us forge different pathways to create work, which is becoming more and more essential in this day and age where the music industrial complex doesn't really appear to be effective for artists at most levels any more.

Tips for finding your creativity on a tough day

I don't have a single go-to for this - sometimes it's knowing when to take space, get out of the studio and into some trees. And sometimes it's actually pushing myself through the tough moments - not giving up even though I'm screaming in rage and crying at everything that's coming out.

For me it is a constant search for a balance between these two approaches - giving myself enough space vs dancing through the pain to that point beyond resistance. Both of these hold a lot of power to me. It's like stretching vs lifting weights - I want to develop my capacity for flexibility, peace and strength inside the multitude of pressure and magic of the work.

I have gone through years of pushing myself too hard and burning out, and then years of taking so much space where I’ve lost my sense of resilience. So now I'm on a daily mission to check in and find the balance. Sometimes it works, sometimes it doesn't.

What are you listening to at the moment?

Nicholas Snyder’s soundtrack to Scavengers Reign (eagerly awaiting the Common Side Effects OST 🤞), clipping., Ichiko Aoba, Lyra Pramuk, Antonina Nowacka, Harold Budd, Brighde Chaimbeul, Andy Aquarius, Daisy Rickman, Oklou, Clarissa Connelly & our Alicia Jane Turner’s new single Veil. 

• Interview by @ninakeh

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Connect with NYX: Website | Instagram