GRAMMY-Nominated Soul Artist Acantha Lang on Building a Sustainable Music Career

Acantha Lang is a New Orleans-born, London-based soul artist whose debut album Beautiful Dreams (2023) reached #3 on the Official UK Jazz & Blues Albums Chart and earned 5-star reviews from Echoes and Soul Bag Magazine (France).

A GRAMMY-nominated songwriter and 2022 Recording Academy member, she contributed to Robert Randolph & The Family Band’s Got Soul. Her music has since earned over 5 million streams worldwide, 1.55 million YouTube views, and 13 million+ video views through her acclaimed Standing On The Shoulders Of Soul Legends series.

Her singles have been featured on top Spotify playlists including All Funked Up and Best Funk Songs of 2023, with strong radio support from BBC Radio 2, BBC 6Music, Jazz FM, and KCRW. Her track “Grandma’s Hands” was selected for Jazz FM’s Breakfast Show and featured on BBC Radio 2’s A-List and Trevor Nelson’s Top Tunes of 2024.

She also appeared on Craig Charles’ Trunk of Funk Vol. 2 compilation. Acantha has appeared on CBS Saturday Morning and performed at major festivals and venues including SXSW, Melkweg (Amsterdam), Bizz’Art (Paris), Jazz Cafe (London), and The House of Blues and Blue Nile (New Orleans).

Her music has been championed by Craig Charles, Trevor Nelson, and Gilles Peterson, while influences such as Gladys Knight, Aretha Franklin, and Mavis Staples continue to shape her artistry. Beyond her original work, she actively celebrates the soul tradition through her tribute performances. She is currently working on her second album, due for release in 2026.

How did you first get your start in music?

My music career really started when I left New Orleans and moved to New York. I put together a Blues show in Harlem, and it was there that I truly found my voice and my love for blues and soul. Around that time, I was booked at Blues festivals in the Caribbean and Africa for some really big audiences. This was all a great experience for me as an up-and-coming singer.

Before launching your solo career, your songwriting was featured on a GRAMMY-nominated album and you were accepted into the Recording Academy’s 2022 member class. What has songwriting for others taught you about developing your own voice as an artist?

Yes, one of my songs ended up on Robert Randolph’s Got Soul album, which went on to be Grammy nominated. Robert is the frontman of Robert Randolph and the Family Band and one of the world’s most celebrated pedal steel guitarists. He had always loved a song I wrote in New York with a wonderful producer called Jimmy Bralower.

The song was originally called It’s Gonna Be Alright, but when Robert decided to record it for his album, we reworked the lyrics and production a bit, gave it a slightly different title, Gonna Be All Right, and it became the closing track. I later recorded my own version, which appears on my debut album Beautiful Dreams. My version of the song sounds like me and Robert’s version sounds like him. What I learned is that the artist will always make the song their own. They’ll transform it so it sounds like them, and that’s exactly how it should be.

What have you learned about networking in the music industry? How do you approach building authentic connections?

I believe that to be a successful artist, networking is crucial. It is about building relationships with the right people, showing up in spaces, reaching out, asking questions, and being open. All of that really makes a difference.

Your reputation and work ethic go hand in hand with those connections too, because you never know when someone you spoke to, or someone who has seen your work, might recommend you for an opportunity.

When it comes to building authentic connections, I try to keep it simple. I show up as myself. I listen and I stay curious.People can feel when you are genuine, and those are the connections that last. One simple conversation can turn into great opportunities and sometimes friendships.

For artists working toward that level of visibility, what does it really take to build a sustainable career in today’s music industry?

I think building a sustainable career in music today takes more than talent. You need persistence, patience, and a real understanding that this is a marathon, not a sprint. It takes consistency, showing up for yourself every day, and being willing to put in the work even when no one is watching. And let’s be real, you’re going to need money to get your project off the ground.

This can be very expensive. Unless you’re starting out with a lot of money or backed by a label with a big budget, you need to get familiar with fundraising, applying for grants, and working to cover all the costs that come with recording, releasing, and marketing your music. It takes time to get to a level of visibility and it takes time before a career in music can sustain itself. It can be challenging, but I believe it can be done. 

You’ve now crossed 3 million Spotify streams and appeared on BBC Radio 2, Jazz FM, and BBC 6Music’s A-List. For artists trying to reach radio and editorial platforms, what are your best tips to stand out in a saturated space?

I’m extremely proud of how my music is being received, but it didn’t happen overnight. I was fortunate that my debut single He Said/She Said was played on BBC 6Music by Craig Charles, but what I quickly learned is that most of the time you do need a radio plugger to get consistent radio play. In a saturated space, the best way to stand out is  creating the best work possible and staying true to myself. I never wanted to chase trends. I wanted to develop my own sound and make music that felt authentic. For me, it’s always been more important to do something uniquely mine than to blend into a crowded lane.

With 1.55 million YouTube views, over 104K TikTok followers and features on high-impact playlists, you’ve created a multi-platform presence. What’s worked best for growing your audience online without relying on viral trends?

On the streaming side, being featured on Spotify’s big editorial playlists isn’t something you can control, so I feel very grateful that some of my songs have landed on a few of them. One of my proudest moments was seeing He Said/She Said included on Spotify’s Best Funk Songs of 2023. Being featured on high-impact playlists has been an amazing way to introduce my music to new listeners.

What’s worked best for me is creating content for YouTube and TikTok that I genuinely enjoy making. I share soul music through tributes, stories, and performance clips, while also highlighting the artists, their journeys, and little-known facts about them. I love digging into the history and putting those stories together, and because it comes from a real place, people connect with it. It’s helped me find others who love soul music as much as I do and build a real sense of community.

You’ve built a loyal fanbase and garnered over 13 million video views with your Standing on the Shoulders of Soul Legends series. What inspired that project, and how did it help grow your community?

I started my Standing on the Shoulders of Soul Legends series during the Covid lockdown because I could not work and I still wanted to sing. At the time, a lot of artists were doing livestreams, but I wanted to do something a little different. I decided to pick a song by one of my favorite soul artists, perform it with my guitarist in my living room, and post it online.

The very first song I covered was Let Me Be The One You Need, as a tribute to Bill Withers after he passed away on March 30, 2020. People loved it, and the response was so encouraging that the next week I chose another soul legend to cover, and then another. There were so many songs I wanted to sing that it naturally turned into a weekly series.

Since starting the series, I’ve posted over 100 episodes on YouTube, covering artists like Gladys Knight, Al Green, Aretha Franklin, Stevie Wonder, Etta James, and Otis Redding, just to name a few. Creating this series has been a reward in itself because I’m so passionate about soul music. But an added reward has been seeing new fans discover me through it, then go on to listen to my own music and become part of my journey.

As a woman in soul and funk today, what’s one lesson you’ve learned that you’d pass on to the next generation of artists trying to carve out their path?

Music will always evolve, but I think it’s important to go back to the source, study the pioneers and learn from them. One thing I’ve taken from the greats of soul and funk is that they didn’t need loads of riffs or vocal acrobatics.They relied on tone and storytelling to get their point across. For me, that has so much more impact than constantly showing off technical skills.

Who are three women in the industry who inspire you right now.

Mavis Staples, Carla Thomas, and Gladys Knight are three women who continue to inspire me. I’ve had the honor of meeting both Mavis and Carla in person, and their encouragement meant so much. I’ve seen Mavis perform several times, and she still has that deep soul that radiates and transforms the audience when you hear her sing. She has carried the torch for soul music for decades and remains a living example of its power.

I also recently met Carla Thomas, the Queen of Memphis Soul, and even performed with her. Her spirit and kindness were so genuine, and knowing she, along with Mavis, was part of historic moments like the legendary Wattstax concert in 1972, and is still out performing today, is awe-inspiring. Gladys Knight has always been one of my biggest inspirations. To me, she represents real soul and true longevity.

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Acantha Lang on TikTok & Instagram | Website

Cami Bear is the Miami Pop Artist Behind Atlas Lens-Backed ‘matchacoldbrew’

Miami-based R&B/pop singer, songwriter and visual artist Cami Bear is carving out a space of her own in today’s pop landscape.

Fresh off the release of her bold new single matchacoldbrew, and its hyper-stylized 2000s fever-dream video, backed by Atlas Lens Co. (Everything Everywhere All at Once, The Batman), Cami is stepping into what she calls a “new era.” Fusing alt-pop, R&B, glitchy Y2K nostalgia and a touch of Latin flair, her sound is both playful and deeply personal, transforming regret into confidence and chaos into glamour.

With over 4M streams to date, collaborations with Gorgon City and Westend, and global radio support, Cami Bear is quickly proving herself as one of Miami’s most exciting new voices.

Atlas Lens has backed ‘Everything Everywhere All At Once and The Batman’ now they’re behind your 2000s fever dream. How did the partnership come about?

It came through a one-off artist submissions program that Atlas Lens was running in collaboration with LA native director XAMNIL. 

And once it came together what was the experience like working with Atlas Lens and bringing your vision to life?

It was surreal, honestly. Atlas Lens gave me access to gear I never thought I’d touch this early in my career, and it made the whole process feel so legit. I will forever be grateful for that experience and for everyone who was involved in bringing something so special to me to life. A dream! <3 

You refer to your song matchacoldbrew as ‘cnty’. What’s the story behind it?

This song basically wrote itself. I needed to channel whatever spiral I always go down into something more playful. This song came from a place of burnout due to not writing from an honest place. I’d been wanting to romanticize more of the real and darker narratives in my life that I know a lot of girls my age would be able to relate to through songwriting. It just so happened that the first angle I took was the morning after.

How has growing up in Miami shaped your artistic identity from the way you write, to how you perform, to how you move through the industry?

Miami holds a lot of magic, and luckily I’ve been able to channel that through my artistry. By now it’s clear the city has its own glossary, and you can hear a lot of that in my lyrics and brand voice.

My music is also heavily influenced by the mix of sounds I grew up on here, and I see it as a true product of that tension. It’s a pretty unserious city, and if you’ve been to my shows, you’ll see the direct correlation. My Miami roots shape so much of me, but I feel it most in the social element.

Like any big city, Miami makes you grow up quickly, and that’s played a big role in how I carry myself in the industry. Miami breeds a very specific kind of person. Growing up here not only toughened me up, but helped me tap into my soul and charisma. There’s a lot of characters here that have prepared me to deal with a lot of the different kinds of personalities you can come across working in an industry like this. 

You’ve collaborated with Gorgon City, hit 4M+ streams, and your tracks are getting played worldwide. What mindset helped you stay focused as things started to grow?

Remembering why I started doing this in the first place is always very grounding. It’s easy to get caught up in the noise or start chasing trends, but I’ve learned to come back to honesty. If it doesn’t feel like me I don’t do it. As long as I do that, I know I'm focused on the right things. 

Did you ever feel pressure to lean into Latin or the ‘Miami Sound’? How did you stay true to your sound?

Yes, I’ve always felt that pressure- especially coming from a Latin family and being a native speaker. I’ve caught a lot of backlash for not using my fluency more. At times I’ve been insecure about not leaning into it ‘fully,’ but that doesn’t mean I don’t already.

The culture is already woven into my music, just not in the most obvious or typical ways people might expect- it lives in my DNA, in my delivery, and overall in my energy. I definitely see myself exploring that path more in the near future, but I want to do it with intention and work hard to find the right messages and the right cultural approach so it feels true to me, to Cami Bear, and to where I come from.

And in terms of the Miami sound, I think that can mean so many different things. It’s not one genre - it’s the tension of all the influences here. I stayed true to my sound by letting those influences show up naturally in my work.

I see myself as a pioneer of this movement for my generation, helping emphasize this lane of Miami pop and giving it a voice. It’s about building something authentic that reflects the city’s magic without being boxed in. Staying true to my sound means blending my roots into it on my own terms.

What’s one thing about being a pop artist in Miami that people don’t understand until they’re living it?

One thing people don’t realize is how different the landscape is here compared to cities like LA or New York. Miami doesn’t really have an OG built-in infrastructure for pop, so you’re carving your own lane. That makes it harder sometimes, but it also gives you freedom to create something really fresh! You have to hustle harder to get noticed- especially when it comes to bookings, but in return you develop this very strong sense of identity.

What are you listening to at the moment?

So many things but this week: the new Jim Legxacy album, all of Dominic Fike’s discography, and that one minute video SZA posted on a spam account

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Connect with cami bear on Instagram & TikTok

Kaitlyn Aurelia Smith on New Album ‘GUSH’, Modular Synths, and Creative Listening

Kaitlyn Aurelia Smith is a classically trained composer, producer, and performer from the Pacific Northwest.

Since self-releasing her debut album Tides in 2012, she has explored the expressive possibilities of modular synthesis, particularly her signature Buchla system, alongside orchestral textures and processed voice. Her music draws on synesthesia and an interest in the relationship between sound, color, shape, and physical sensation.

Her new album GUSH, out August 22nd, follows her 2024 Neptunes EP collaboration with Hot Chip’s Joe Goddard and marks her first solo release since 2022’s Let’s Turn It Into Sound, which was nominated for Best Electronic Album at the LIBERA Awards and praised by NPR Music, Pitchfork, The Guardian, and Bandcamp.

Where previous work leaned into meditative and mesmeric structures, GUSH moves with directness and intensity, focusing on aesthetic experience and moments of connection with people, objects, and the natural world. The album is rooted in Smith’s experience of synesthesia and her long-standing habit of personifying objects. Across its tracks, she draws out the sensuality in everyday interactions and gives form to emotional responses through synths, voice, and rhythm.

Across singles like “Urges,” “Drip,” and “Into Your Eyes,” we get glimpses into the emotional and sensory world of GUSH. What ideas or experiences were guiding you as the album started to take shape?

Love this question! I wanted to make an album that felt like I was falling in love. I wanted to make an album that shared my day to day inner existence with the outer world, that best describes my personality. I love to be in connection and relationship with everything. I interact with and I feel the most like myself, when I get to spend time just being in attention and presence with something.

I wrote these words about the meaning of GUSH: 

Gush - is about those “Look at this” moments…shared between people…

It is about flirtation with objects and the environment…

It is about sensuality and personification…

It is about synesthesia and surrendering to those moments when the senses melt together…

It is about “ the third thing” that is created when 2 things come together…

It is about the way the human form is in service of…

it is about experiencing the genius of everything…  

You’ve said GUSH is about things like personification and connection. How did those ideas influence how you made the music?

This album is a view into how I like to live my life, which is centered around my love of connection and feeling.

I love to imagine everything is a form of intelligence and that it is speaking. It feels like a very poetic way of filtering the world. 

Can you share a piece of advice that helped you develop your confidence as both a producer and performer?

Fall in love with practice, whatever that means to you. I think confidence is KNOWING something and I think that comes through experience and familiarity. Anytime I feel a lack of confidence in my craft - if I spend time with it daily - it subsides for me. 

You’ve worked with modular synths and rare instruments for years. For someone new to electronic music production, where do you recommend they begin?

I mean this in the most earnest way; listening and patience. Continue to develop the practice of knowing your preference.

Keep sitting with each aspect of a sound and find out what do you like, what do you not like. This has been the most valuable practice for me, beyond studying sound engineering, orchestration, technique, etc.

Photo Credit: Tim Saccenti

What’s one piece of gear, software, or even a non-musical object that’s been unexpectedly essential to your workflow lately?

I love non musical objects! I love objects in general! This whole album is about personification and object empathy - so I am going to speak to the object aspect.

My favorite palette cleansing activity is to walk around the world and look for objects that evoke a feeling in me. I dont usually bring them into my studio, but that activity always inspires me. 

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

My favorite thing is creating a form of communication for the ineffable.

My least favorite thing about making music is the underbelly of the music industry and the way music is consumed. The amount of energy expenditure that is expected of artists of all mediums.

Top tip for creatives wanting to become singer-songwriters etc.

Fall in love with the “fear” - whether its fear of failure, success, being seen, mistakes. Whatever it is, it’s a bridge to innovation, finding your sound. I also love this statement a teacher said to me; “live a life worth making music about”.

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Follow Kaitlyn Aurelia Smith: Instagram | Bandcamp | Website

GUSH out August 22 Pre-save

444 Sounds’ Izzy Parrell on How to Pitch Music That Stands Out on DSPs

Izzy Parrell is the Director of Streaming & Digital Partnerships at 444 Sounds, the boutique management and label services firm founded by industry veteran Joe Aboud. She leads digital strategy across a roster that includes JORDY, ADÉLA, and Michaela Jaé, and works closely with DSPs to build long-term artist growth.

Before joining 444, Parrell spent several years at Apple Music, where she helped shape the platform’s global editorial voice through Viral and Pop playlist curation. She’s also led digital campaigns for artists including 4x GRAMMY-nominated Mickey Guyton and Elijah Blake known for blending authentic storytelling with data to deepen fan connection.

444 Sounds, whose work has been spotlighted by Billboard and Variety, continues to build a reputation for creative digital strategy and artist-first management.

How did you get your start in the music industry, and what led you to focus on streaming and digital strategy?

After graduating from university I moved to Los Angeles in early 2020 to pursue a career in the creative industries. Just two months later, the pandemic hit, and like many others, I found myself job-hunting in a time of major uncertainty. I eventually landed my first industry role through mutual connections at a digital marketing agency, working directly with artists and managers on social media and music rollout strategy. While I’d managed social accounts on the side for years, I knew I didn’t want to stay in that lane long-term. Finding a role that combined music and digital strategy felt like the perfect fit, and about a year later, that path led me to Apple Music.

What does a typical day look like for you as Director of Streaming & Digital Partnerships at 444 Sounds?

Honestly, every day looks a little different, which is what keeps it fun. My job is really about making sure our artists are getting the support they need across all the streaming platforms. That can mean anything from pitching new releases to building timelines, checking in with DSP partners, working with artists, or brainstorming digital ideas with the team.

Some days are super meeting-heavy and I have lots of calls with partners and artists. Other days I’m deep in the weeds on campaign planning, getting assets, or helping shape the narrative around a project. It’s a mix of creative problem-solving, relationship management, and making sure we’re being thoughtful about how and when we show up. I’m always bouncing between the small details and the bigger picture, and that balance is something I really enjoy! 

You’ve worked on campaigns that blend storytelling with data. What does that process look like in practice?

Storytelling is a huge part of pitching music. I spend a lot of time crafting narratives around our artists so partners can understand who they are, what drives them, and why their music matters. I think stories help break down the barrier between audiences and artists, making people’s connection to the music feel much deeper.

When I pitch, I always start with the story,  a hook that draws people in and gives context to the music. Then I look for data that supports it. That might be streaming numbers showing growth, fan engagement in certain territories, or insights about specific listener groups in different places. Using data this way makes the story feel real and shows that there are people and fans behind the music. The story brings the music to life, and the data shows that the timing is right.

How can independent artists build strong relationships with streaming platforms without a major label behind them?

I think being authentic is one of the most important things when you’re trying to build relationships with streaming platforms. Without a major label backing you, you don’t have all those big resources, so what really makes you stand out is just being real about your music, your story, and your connection with your fans. I often find myself drawn to artists who have a clear sense of who they are and an energy that actually fits the music they make. That kind of authenticity just sticks with you.

What are some common mistakes you see artists or teams make when pitching to DSPs or playlist editors?

Having worked on both sides of the industry, I’ve come to really appreciate how important the little details are when pitching to DSPs. Editors get SO much music every day. It’s a full time job just to sift through it all. Anything you can do to make your song accessible and quick to listen to goes a long way.

They’re often listening to hundreds of songs, so making sure your pitch has clear info, simple listening links, and any useful data can really make the difference between your track getting noticed or getting lost in the shuffle. 

3 Values that guide your life

Connection, Compassion, and Authenticity :)

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Connect with Izzy Parrell on LinkedIn | 444 Sounds Website

Leah Cleaver: Taking Up Space Through Feminist Alt-Pop

Leah Cleaver is a London-based artist and activist whose music blends alt-pop with funk, hip hop, electro, and soul.

A former frontwoman of the neo-soul group Zebede, she’s performed at British Summer Time festival, recorded a session for Jamz Supernova, and now beginning her journey as a solo artist.

Her debut single ‘Last Time’ (released via PACE) captured late-night chaos and romantic tension over a shape-shifting production of keys, synths, and rattling drums. It was followed by ‘Have You Ever’, which Cleaver describes as the sunny morning-after to its predecessor’s dimly-lit cab ride.

Drawing influence from artists like Nina Simone, Channel Tres, Jungle, and Little Simz, she developed her signature alto vocal style during a period of vocal strain, learning to lean into grit and control over affectation.

Beyond her musical work, Cleaver co-founded U Gd, Girl?, a London-based intersectional feminist collective running monthly workshops and discussion circles for women and non-binary people. Her music is dedicated to the queer and trans community that continues to nurture her, and she prefers a literal approach over metaphor to communicate openly and with urgency.

‘Last Time’ introduced us to your sound and your story. With ‘Have You Ever’ coming next, where are you taking us now and how do the two songs connect?

Last time feels like 2am on a saturday night buzzing round through london in a cab and have you ever is 2pm on Sunday and you’re laying in the grass in the park with your friends in the sunshine absolutely GIGGLING and gossiping about the night before, it’s a nod to those  that sometimes put their foot in their mouths (like me!) and do cheeky things with gorgeous people but it’s all okay because their friends hold space and love for them. 

You started gigging around London early on. What’s one thing that helped you grow a buzz at the grassroots level?

I started going to jam nights, especially ones that made me nervous and my beautiful friends  would champion me, and i’d watch other amazing artists and see their authenticness and rawness to perform, so then I started to as well and I would tell those people who I was and I kept coming back, and I think that’s how you build community within grassroots organisations, you just keep going back.

What’s one tip you’d give to another artist who feels like they don’t fit into the industry’s boxes?

People will always try to ‘re-create what you do, rebrand it, manufacture it, mass produce it, water it down, claim it as their own (eventually) - so you may as well be the source! It might take time but you need to exist in the knowledge that your people will find you and will notice what you’re doing, keep your blinkers on and keep going

What’s something you’ve figured out about being an artist that no one told you?

I figured out that there are amazing people doing the same thing as you that will, and can pull you up alongside them so generously and without motive. Sometimes we focus so much on the competition of numbers and who’s  the ‘favourite’ right now that we forget that as artists we are our community, and especially as a black woman I know when one of us win we all win, so i’m hear to raise up others voices and I know people have been raising mine so I feel grateful. 

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

My favourite thing is when you know you’ve written a bop and you come home and show the people you love (100 times)

Least favourite thing is having to wait to show it to everyone!

3 artists that influence you right now.

DAMEDAME*, Lil Simz, BINA.

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Follow Leah Cleaver:

Instagram | U Gd, Girl?

Stream ‘Have You Ever’

Rufy Ghazi: Designing the Future of Music Tech with Product, Data and Integrity at its Core

Photo by Nishant Gita

Rufy Ghazi is a seasoned music business professional with deep experience in product management, digital operations, and research. A Tech Nation alumna and Abbey Road REDD mentor, she has held key roles at companies like ByteDance (TikTok) and Amra (Kobalt Music Group), alongside fractional roles at several music tech startups.

She is the co-author of PROMPT for Musicians, a practical guide to AI language models for artists and industry professionals. Her research work includes the "Third UK Electronic Music Industry Report" for NTIA and "Sound Investments", the first in-depth mapping of the UK music tech ecosystem for Music Technology UK.

Rufy has written for publications like Billboard, where she explores AI’s role in music production, marketing, and operations, and Attack Magazine, where she tackled the economic realities facing DJs today.

Her recent speaking engagements include Slush, Eurosonic, IMS, and WISE, where she continues to advocate for ethical innovation and a more sustainable, equitable music industry. Passionate about the intersection of music, technology, and innovation, Rufy’s work is driven by a commitment to meaningful change.

You’ve worked across major platforms like TikTok and Kobalt, as well as early-stage music tech startups. What’s one key difference in how innovation happens at each level?

In bigger companies, innovation is about scale. They have the money, the talent, and the market recognition but innovation is often shaped by pre-existing infrastructure and is hence slow. Startups, on the other hand, are where the edge lives. Bootstrapping, tough conditions, but huge ambition. Their reach exceeds their resources, which forces creativity. Ironically, the smaller the company, the bigger the ideas. And that’s where real disruption begins.

You co-authored PROMPT for Musicians. What’s the most practical way artists can start using AI tools like ChatGPT in their day-to-day right now?

My mentor, David Boyle, with whom I co-authored the book, makes a great analogy. He says LLMs are like an electric bike for your mind. You still steer, but you get to your destination faster.

Artists can use AI where it lightens the cognitive load, drafting press releases, generating promo ideas, writing emails, or even sketching a track layout. They can explore tools such as Just 4 Noise, DAACI, and Delphos AI (from saving artists from doom scrolling through sample packs to providing compositional support). Tools like these exemplify how AI is being deployed to enhance creativity. The magic happens when you treat AI as a collaborator, not a replacement; something you iterate with, not offload to.

For teams working on AI-powered music tools, what ethical questions should they be thinking about from day one?

Rufy Ghazi at WISE 2025

Two questions and both pertain to how the models have been trained. Firstly, whose voices does this model amplify, and who does it erase? Bias exists in code and we can’t let AI undo years of work on diversity, equity, and inclusion. Secondly, are creators fairly credited and compensated if their work is used to train the system? 

Ethics isn’t a box to tick; it’s a design principle. We need to make sure we're using tools that follow these basic ethical guidelines.

I encourage you to do the research and pick the companies that have taken the right approach, especially when choosing generative AI creation tools. Fairly Trained is one such organisation that certifies AI companies for the fair sourcing of training data.

You led research on the Third UK Electronic Music Industry Report. What’s one key takeaway from the findings that more music professionals need to hear?

What struck me most is how innovative this scene already is, even the live sector, which is often the last to evolve. From curation to tech adoption, artists, promoters, and venues are doing the work. 

The sector has always been deeply DIY, resourceful, and entrepreneurial, but unfortunately, underfunded compared to other creative industries; it lacks the structural support. Diversification of revenue streams is the strategy for sustaining and thriving in this climate. Promoters need to think beyond ticket sales, and DJs need to think beyond just playing a few shows

How can data and research more directly support things like funding, policy, and equity in the music industry?

Data is a bridge; it connects lived experience with action. Research gives legitimacy to what marginalised voices have been saying for years, but lacked the resources to prove. A great example is The Jaguar Foundation’s report on gender representation in UK dance music.

Whether it’s analysing user behaviour to prove the effectiveness of the product or highlighting the economic impact of electronic music on the UK economy, good data turns anecdote into advocacy. But it also has to be accessible not just for policymakers and company CEOs, but for the communities and all stakeholders involved. Data should empower, not gatekeep.

What advice would you give music tech founders trying to solve real problems for artists and rights-holders?

Two things: First, start with listening, not coding. I can’t stress this enough: the best tools in this space come from founders who treat artists as co-creators, not “end users.”

Second, we need more product thinking in this space. Coming from a product background, it genuinely pains me when founders say they don’t have a dedicated product manager in the team. Fundraising, marketing, PR, none of that matters if the product doesn’t solve a problem grounded in reality and can’t scale sustainably. Focus on building something useful, not just fundable.

Photo by Cxrryboi x DnBIndia BLRMassive

Outside of your strategy work, you’re also a DJ. How does DJing influence your perspective on product?

There’s a direct link. DJing teaches you to be present, reading energy shifts, trying things out live and responding in real time. That’s also how one can approach product. You build, observe, and iterate.

Whether you’re planning a timely drop or building a new feature, if it doesn’t move someone even metaphorically, it’s not doing its job (damnnn, I should trademark this!!).

We remember how passionate you are about drum & bass and it’s been amazing to see the genre’s global resurgence. Why do you think it’s connecting so strongly with new audiences right now?

Honestly, I don’t think drum & bass ever left. But yes, it’s having a moment and rightly so. I recently researched the genre for BPI, and some of those insights were included in the 2025 IMS report. 

It’s incredible to see a UK-born genre become truly global. People connect with it because it is unapologetically intense. In a world where everything’s filtered and flattened, D&B feels raw, real, complex and emotional. And sonically, it’s flexible—there’s space for jazz, soul and more. I think D&B will always resonate with people. 

In your article for Attack Magazine you discovered that only 1.6% of DJs have five or more gigs lined up. That stat really challenges how we think about success in electronic music. What patterns stood out to you while analysing this data? What do you think artists and industry professionals need to take from it?

What stood out was the disconnect between the visibility of electronic music as a booming industry and the lived experience of most DJs. The numbers show it clearly: success is hyper-concentrated. Technology has made it easier than ever to enter, but the number of opportunities hasn’t grown at the same rate. So while more people can call themselves DJs, only a tiny percentage are working consistently.

That said, we are also seeing a shift in mindset. Many DJs aren’t waiting for gatekeepers; they’re throwing their own parties, building collectives, and creating new paths entirely. The takeaway? Success today isn’t about who books you, it’s about how you create and convert your own momentum. Think like an entrepreneur, not just a performer.

What are you listening to at the moment, and name three things you never leave the house without?

Currently obsessed with Paranoid London, I’ve rinsed their discography. Also deep in a 909 rabbit hole: Larry Heard, Frankie Knuckles, Inner City. And, I never leave without my earbuds and earplugs (obviously!), the book I’m currently reading, and my favourite lip colour!

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Connect with Rufy Ghazi on LinkedIn & Instagram

Portfolio | PROMPT for Musicians

Leila Fataar on Culture-Led Brands and Business Transformation

Few brand strategists can claim a 30-year career that spans global giants like adidas and Diageo, the launch of two independent companies, and a pioneering role in shaping how brands connect with culture. Leila Fataar is one of them.

As the founder of Platform13, a London-based cultural communications and creative production studio, she helps brands unlock cultural relevance through fandoms, communities, and storytelling, translating business objectives into real-world resonance.

Her book, Culture-Led Brands: Drive Growth, Build Resilience and Cultivate Resonance (Kogan Page, June 2025), distills decades of international experience into a practical guide for leaders navigating today’s volatile business and cultural landscape.

Drawing on real-world work with adidas Originals, Guinness, YouTube and more, the book lays out why cultural relevance isn’t a marketing trend but a strategic imperative—and how brands can embed it across everything from innovation and internal operations to storytelling and trust-building.

What does a typical day look like at Platform13?

No day is ever the same… and that’s how I like it! Within a day, I can be hosting a Cultural Voices POD, running to be on a panel, doing a business talk around my book, Culture-Led Brands, delivering a global campaign or cultural insights for big brands and going for dinner with a client or contact. Or some days, I could also be updating our website, commenting in a trade publication, writing our newsletter as well as planning and creating content for our socials. And these mix and match. 

Your book Culture-led Brands spans everything from marketing and innovation to politics, tech, and inclusion. What connects all of that under a culture-led approach and why does it matter right now?

Culture has always been impacted by politics, the media and technology and brands can no longer ignore that if they want to be relevant. But knowing how to analyse and read the RIGHT shifts that impact a brand's audience, and then for that brand / business to act accordingly, is why it's necessary for brands to thrive… or even survive this era. 

For someone picking up Culture-led Brands for the first time, what’s the key idea or shift in thinking you hope they take away from it?

A brand’s culture-led strategy is an input that must be brought upstream as part of your business strategy. This means the right behaviours and decisions run through your business and reflects in the work that your consumers see. What it’s not, is a marketing channel output like a trending topic on social media.

For CEOs, CMOs, and growth leaders navigating constant change, what’s one principle from Culture-led Brands they should be applying right now but often overlook?

I’ll give you two: Break your internal silos, break your marketing formulas.

What do the most culturally fluent brands consistently get right? Where do others go wrong?

They ensure they have the right voices in the room, not only in their marketing output. They ensure those voices are in the ideation and decision making process too. This is where inclusivity plays a big role and where there is still a ton of work to do in big brands.

What’s one thing you wish more leaders in music or branding understood about building trust with communities?

It is the only way to drive resonance with your audiences. Building trust means adding value to those communities, not just extracting from those communities for commercial gain.

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Connect with Leila Fataar: Website | LinkedIn & Instagram | Platform 13 | Culture Led Brands

Charlotte Dowsson Is Claiming Her Space in a New Era of R&B

Charlotte Dowsson is part of a new wave of R&B artists building momentum with little more than instinct, honesty, and a strong sense of self. Raised on ‘70s soul and early 2000s vocalists, her sound blends soft sax lines and sultry harmonies with the emotional clarity of someone who’s lived through what she’s writing about.

With just a handful of independent releases, she’s already earned more than 1.6 million streams, 75,000 TikTok creations using her songs, and support from BBC Introducing and the PPL x Trench Incubator programme.

Her latest single, “Slightest Change,” traces the emotional drift of a relationship with layered vocals, lap steel guitar, and a deep sense of restraint. We caught up with her to talk about where the track came from, how she’s building her audience in real time, and what she’s learning from the current R&B scene.

What’s the story behind Slightest Change? Did it start with the lyrics or the music?

It was me reflecting on not so great past relationship. I think I’m very good at realising things after the fact with love and romance but in the moment I get quite caught up in my lover girl feelings, but the song is about the sudden realisation that you get when you draw to the end of a toxic relationship and you realise that you deserve better.

It explores a range of emotions from frustration, doubt, pleading & confusion and love in relation to the other person. I wanted to show the inner conflict you feel when you know you should leave the situation but how hard it is so allow yourself to come to that conclusion. 

The current R&B scene is full of exciting voices right now. What are you enjoying about it, and where do you see yourself in it?

What I’m really loving about the current UK R&B seen is that there is there is so much diversity everyone is doing something different in this big umbrella of a genre & killing it.

I love the KWN and Natanya, I love Odeal I love Summer Banton I love Sasha Kebal I love FLO.

I think where I place myself in this renaissance of R&B is brining my love of 70s/80s soul and jazz and mixing that with the contemporary women of R&B that I love. My sonic signature right now is saxophone and strings definitely influenced by Sade, but I blend more contemporary sounds that are a homage to artists like Brandy and Aaliyah to create Charlotte Dowsson.

What’s one thing that’s helped you meet the right people in music, whether that’s collaborators, producers, or mentors?

I definitely think it’s been taking full advantage of the fact that I live in London. I feel incredibly grateful to live in one of the biggest centres of art and creativity and music in the world and I don’t I take that lightly.

There’s always an event, there’s always a jam there’s always something to go to, so I definitely think that was a big help for me and also reaching out to people online like shooting my shot and not really caring if I got a reply reply back. I have made such great connections & met such amazing creatives from doing that & I think I’m an age and a time that navigating a healthy relationship with social media can feel tricky using it and seeing it as a space to make new connections I think it really cool.

What advice would you give to someone trying to grow as an artist without a big team behind them?

I think realise the value you hold as the musician & artist because it’s immense. Without artist there are no managers, without artists there are no labels, without artist there isn’t a music industry to begin with.

When I first started out, I definitely felt that feeling of you know a big separation within myself and the infrastructure, but when I stopped thinking about trying to get a team and just focused on my over of doing music the perfect people entered my life AND I have faith that if I continue trying my best and creating things I’m proud of more of the right people will come.

Who are you listening to right now that’s inspiring you?

 I’ve got quite an eclectic music taste so my playlists can look a little crazy at times, you never really know what’s gonna come next. I love vocal stacking so I listen to lots of Boyz II Men, Brandy Mariah Carey and Beyoncé. But I’ve also been really banging out Odeal and Jim legacy and I think both of their recent tapes are crazy, I think their ability to keep growing as artists and not allowing themselves to be boxed in but still have a distinct sound is really inspiring. My voice can go quite low, so I love listening to Toni Braxton and definitely think she’s influenced my more sultry songs & as mentioned before Sade will always be on rotation. Most recently I’ve been re falling in love with is it a crime.

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Charlotte Dowsson

Instagram | TikTok |

New single Slightest Change

Meet Girl Group, the DIY Feminist Pop Act Backed by Elton John

Meet Girl Group, five close friends who met at college, bonded over feminist rants in their kitchen, and ended up forming one of the most exciting new DIY pop acts.

Their shared home quickly became the backdrop for creative chaos, late-night writing sessions, and the start of something bigger; a band built on friendship, frustration, and a desire to take up space.

After feeling sidelined in male-dominated studio spaces, they decided to take control and build something of their own. The result? Girl Group, a band that’s as much about catchy brat-pop bangers as it is about community, collaboration, and making space for women in music.

Their debut EP Think They’re Looking, Let’s Perform was out 20th June via Boys Boys Boys, the new Polydor imprint. It’s a self-written and self-produced release that blends sharp social commentary with slick, infectious hooks.

Lead single “Yay! Saturday” has gained early support from Elton John, who said “It’s a wonderful single”, scored a 10/10, won BBC Radio 6’s Roundtable and landed them playlist spots on BBC Radio 1, Apple Music, Spotify, and Norway’s P3.

Girl Group have thrown DIY launch parties in Dalston basements, hosted mock-press conferences at art galleries, and this summer they’re stepping onto their first UK festival stages (from Liverpool’s Sound City to by:Larm in Oslo) with their all-female team behind the scenes.

We caught up with the band ahead of the EP drop to talk about flink pike syndrome, friendship-fuelled creativity, and the joys (and chaos) of finishing a track when five people have five different opinions.

How did Girl Group come together?

What made you want to start creating music as a collective? We often credit the feminist rants we routinely had in first year with the creation of Girl Group.

One night while having pre’s in our kitchen, we’d started talking about how there seemed to be a bit of a ‘boys club’ at our uni.

There was a distinct culture amongst the boys of going to the studio and collaborating, whereas that culture didn’t seem to exist among the girls. Girls would rarely be invited to sessions with the boys too. If they were, it was on a guest-only basis, rather than as a collaborator/an equal.

It was from there that we decided to go to the studio ourselves and try to create that culture between ourselves and other women… but then we started writing Life Is Dumb and said, “Why don’t we be a girl group?”.

“Flink Pike” is such a standout track can you talk a bit more about that term and how the song came together?

The Norwegian term ‘flink pike’ (meaning ‘good girl’) relates to a phenomenon and medical syndrome caused by perfectionism, particularly in young girls. Women are taught from a young age that they must be everything to everyone, all at once. You must be the party girl who isn’t afraid to have fun but also get straight As, as well as being a kind friend, girlfriend, and family member.

This had been a song idea for us for some time, as it was something we all felt we related to and cared about addressing. It was Katya that had started writing Flink Pike; she had actually written about 5 different versions of each section when we saw the shared note she’d been working in we were all like “Wow, you are fascinating”. Thing is, that’s flink pike syndrome at its finest!

You’ve built a real sense of community around Girl Group. How do you keep that energy going?

Building community and making people who listen to our music or come see our gigs feel like they are part of Girl Group has been super important for us from the beginning. That sense of community most likely comes from the fact that we’re all such good friends. We were friends before we were band mates, which we feel does a lot for the dynamic of the group.

We’ve lived together for years, studied together, and now worked full time alongside each other, so we’re incredibly close. If the friendship we have for each other can exude beyond us to our audience members, then we’re incredibly happy.

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

We love being in the studio writing new stuff, and being on stage, singing and dancing around. They’re the bits that really make us feel like we’re living our childhood dreams. There is of course a lot of tedium in the creation process. Finishing songs is always the worst. Plus, as we’re all equal writers on every song, it can sometimes take forever to land on the smallest decision.

We’re also all extremely opinionated and different from one another, so we can spend hours dissecting one line. In some of these sessions, we can find ourselves sat around thinking “How the hell is this ever going to sound good?”, but then all of a sudden it clicks, and we all start to love it.

Any songs or artists you have on repeat? 

ADDISON RAE’S NEW ALBUM! We think she’s incredible. The sexy, unapologetic attitude that punches through her songs, that are all about longing for fame and money, is a beautiful reclamation of the ‘gold-digging, media-whore’ that we’ve been trained to see in women in the public eye. It also has such a nostalgic sound, reminding us of our favourite girlypop tunes from the early 00s. Love her.

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Listen to Girl Group’s Debut EP Think They're Looking, Let's Perform

Follow Girl Group: Instagram | Tiktok

Dina LaPolt’s ‘Street Smart’ Lessons for Women in Music

Dina LaPolt is one of the most influential attorneys in the entertainment industry and the founder of LaPolt Law, P.C., the only major law firm of its kind founded by a sole female lawyer. Since opening her firm in 2001, she’s built a powerhouse roster of recording artists, catalogues, film and TV talent, and entrepreneurs across music, fashion, and beauty.

LaPolt is widely known for her work at the intersection of law, policy, and artist advocacy. She was helpful in moving the Music Modernization Act (2018) through Congress and securing COVID relief for creators through the CARES Act (2020).

She co-founded SONA, successfully sued the U.S. Department of Justice to protect songwriter rights, and continues to advise U.S. lawmakers on legislation like the RAP Act and the No Fakes Act, fighting for protections around artistic expression and AI.

One of her first clients was the estate of Tupac Shakur and she co-produced the Oscar-nominated documentary Tupac: Resurrection.  

A longtime educator and fierce advocate for equity and sobriety, LaPolt has earned top industry honors including Billboard’s Power 100, Variety’s Power of Law, and the Recording Academy’s Service Award. Her debut book, Street Smart: Tips for Succeeding in a Man’s World, is out in October 2025.

You’ve been called fearless, a real boss, and “street smart” in every sense. What does being ‘street smart’ mean to you and when did you first realize you had it?

To me, being street smart means knowing how to hustle, how to read people, and how to survive, especially when there’s no safety net and no one coming to save you. It’s about trusting your instincts and learning how to move through the world with awareness and adaptability.

I think I first realized I had that in me when I packed up my car, left everything I knew behind, and drove across the country to California. No job lined up, no real connections just a music degree, a head full of dreams, and a gut feeling that I had to go. I wasn’t sober yet (that journey came later) but even then, I was already leaning on my instincts. I figured out how to connect with people, spot opportunity, and make myself useful, even if I didn’t have the résumé yet. That’s what street smarts are about: surviving, adapting, and knowing how to move forward even when the path isn’t clear.

You move between boardrooms, Congress, courtrooms, and creative circles. What does a typical day look like for you if there even is one?

Honestly, there’s no such thing as a typical day and I wouldn’t have it any other way. I thrive in the chaos, but I anchor it with structure where it counts. My mornings start early. I need that first hour to myself; to have my coffee, meditate, and check emails and messages. It’s how I get centered before the whirlwind begins.

After that, I usually squeeze in a workout, and then the day takes off. I might be on the phone with a member of Congress or a lobbyist in D.C., then jumping into calls with my law partners to strategize across multiple deals. A few times a week, I will have a lunch meeting with a colleague, and afternoons are typically stacked with Zooms, calls, and in-person meetings.

But no matter how busy things get, I always carve out time for my twin boys and for my recovery meetings. My kids and my sobriety that’s my foundation. Everything else runs on what I call controlled chaos. And I always begin my day with a gratitude check-in. It’s my way of remembering what really matters before the world starts pulling in every direction.

Street Smart drops October 6, 2025. What’s one chapter or lesson you think every young woman entering the music business should read first and why?

Honestly? Every single chapter. Street Smart is designed like a toolkit and each of the ten chapters holds a different key. The lessons come straight from my own journey; raw, unfiltered, and hard-earned. From being diagnosed with dyslexia, to navigating alcoholism, to not going to the “right” law school, I’ve faced my fair share of setbacks. But I turned every one of them into fuel.

This book is for the young person who walks into the room feeling underestimated and walks out owning it. It teaches you how to navigate high-pressure environments, whether you're in a studio, a boardroom, or a negotiation table. It’s about learning to trust your instincts, sharpen your emotional intelligence, and lead with both heart and strategy.

Throughout the book, I discuss the importance of doing the grunt work and building your foundation, because without a strong sense of self, it’s easy to get knocked off course especially in business.  Chapter six dives into how to build a core skill set while also honoring your values. Any high stakes business can be chaotic and cutthroat, but if you know who you are and what you bring to the table, that’s your superpower.

This book isn’t just about survival; it’s about standing tall in your own voice and learning how to play the game without losing yourself in it.

The book’s subtitle is ‘Succeeding in a Man’s World'. What’s the most common mistake women make when trying to navigate power structures in this industry?

One of the most common mistakes I see women make when navigating power structures (especially in male-dominated industries) is believing they have to emulate the same behaviors that have traditionally held power.

There’s this pressure to “play the game” as it’s been defined by men: to be aggressive, to suppress emotion, to sacrifice authenticity for acceptance. But the truth is, our power doesn’t come from mimicking that model it comes from challenging it.

In my own work, whether it's pushing for legislation like the Music Modernization Act or all the COVID Relief legislation, I've seen the most progress happen when we lead with authenticity, collaboration, and persistence.

Women often underestimate the power of their unique perspective, or they’re told it's a liability. But when we lean into who we are, instead of who we think we’re supposed to be, that’s when we actually shift the culture not just survive it.

You’ve built a firm from the ground up and stayed independent. How much of the book is memoir, and how much is playbook?

Great question, it’s actually a mix of both. Street Smart: Succeeding in a Man’s World blends personal storytelling with practical, actionable advice. The structure was inspired by a book I’ve always loved: Never Wrestle with a Pig by Mark McCormack.

That book is packed with no-nonsense insights drawn from his experience in sports and celebrity management, and I wanted to create something similar—but through the lens of a woman who’s had to fight her way into rooms, build something from scratch, and stay independent in industries not built for us.

So while Street Smart does include pieces of my own journey what I’ve overcome, what I’ve learned, the heart of the book is about giving women tools they can use, no matter what field they’re in. Each chapter delivers real-world lessons, the kind you usually only get from lived experience. It’s part memoir, part playbook and 100% designed to help women not just survive, but lead and thrive on their own terms.

You write about defusing emotional triggers and sharpening instincts. What’s one high-stakes moment in your career where that mindset made all the difference?

One that really stands out is when a client and I set out to help get a privacy law passed in Hawaii to protect high-profile individuals from aggressive paparazzi tactics. At the time, it felt like a total David versus Goliath moment. I’d never been involved in the legislative process before, let alone lobbied for something this public and yet, the issue was incredibly personal to me. In California, we have statutory protections in place, but Hawaii didn’t. And what the paparazzi were doing wasn’t just invasive it was dangerous.

We’ve seen the tragic consequences of that kind of behavior, like what happened to Princess Diana. The stakes were sky-high professionally, emotionally, and reputationally. There was a lot of media attention, and I knew I couldn’t let fear or self-doubt take the wheel. That was one of those moments where staying grounded, defusing emotional triggers, and trusting my instincts made all the difference. I treated it like any other negotiation: stay prepared, listen more than you speak, and never let your emotions do the talking in the room.

My firm actually ended up drafting the legislation, and I worked side by side with local lawmakers, pushing through a lot of resistance. It didn’t pass the first time which was heartbreaking but we stayed at the table, built relationships, and kept showing up. And that persistence ultimately helped shape how future privacy laws were developed.

That experience taught me that real progress isn’t always quick but when you pair emotional clarity with purpose-driven action, you become unstoppable.

Negotiation is at the heart of Street Smart. What’s your #1 rule for walking into a negotiation and walking out with what you want?

Be the most prepared person in the room. That’s my golden rule. Know the deal backwards and forwards, every variable, every possible outcome, every piece of leverage.

When you walk in with that level of preparation, you carry a quiet confidence that changes the energy in the room. You’re not reactive, you’re strategic. You can stay cool when things get tense, because you’ve already anticipated the pressure points.

And here’s something people often overlook: silence is powerful. Don’t rush to fill it. When you leave space after making a point or an ask, you force the other side to sit with it and that’s when the real movement often happens. Negotiation isn’t about being the loudest voice. It’s about being the calmest, the sharpest, and the most grounded person at the table.

What’s your non-negotiable for staying grounded?

My recovery. I’ve been sober since 1998, and that’s the foundation for everything I do. Without my sobriety, I wouldn’t have my career, my children, or even my emotional peace. When I start feeling overwhelmed, frustrated, or self-doubting, I pause and ask myself, What’s right in my life? That simple question helps me reset and gain perspective.

Another non-negotiable for me is acts of kindness. Helping someone else whether it’s a friend, a colleague, or even a stranger helps me get out of my own head and back into alignment. It’s a constant reminder that my purpose goes beyond myself, and that keeps me grounded, no matter what else is happening.

You helped shape the Music Modernization Act and fought for independent creators under the CARES Act. What’s the next policy battle the industry should be preparing for?

I’m currently involved in two major legislative initiatives that I believe are pivotal for the future of the industry. The first focuses on protecting creative expression from being unfairly used as evidence in criminal cases. Specifically, the practice of using song lyrics as evidence of guilt disproportionately targets Black men and that’s something that absolutely needs to be addressed.

Along with the Black Music Action Coalition, California Assemblymember Reggie Jones-Sawyer, and Governor Gavin Newsom, we helped pass the Decriminalizing Artistic Expression Act in California. This legislation has now been adopted in several states including, surprisingly, Louisiana and Missouri. When we frame the issue through the lens of the First Amendment and freedom of speech, it becomes a bipartisan issue, which gives it real momentum. We’re now working on a federal version of this bill, called the Restoring Artistic Protections (RAP) Act, in partnership with U.S. Congressman Hank Johnson.

The second initiative I’m heavily involved in is the creation of a federal right of publicity, which is crucial in today’s digital landscape. This year, our Human Artistry Campaign comprising the Recording Academy, Songwriters of North America, the Black Music Action Coalition and many other organizations worked to reintroduce the No Fakes Act. This bipartisan bill, when passed, would establish a federal right to control one’s voice and likeness. It’s especially urgent with the rise of AI and deepfakes, as it would provide essential protections not just for public figures, but for everyday people too.

These legislative efforts will fundamentally reshape how we protect creativity and identity in the digital age. I think the industry should be preparing for these conversations to ramp up, as these issues are only becoming more urgent as technology evolves.

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Connect with Dina LaPolt on Instagram | Website

Pre-order Street Smart

Jayda G and Annie Mac on Motherhood, DJing and Club Culture

Two iconic names from the dance music space, Annie Mac and Jayda G, sat down at AVA London Conference 2025 for an honest conversation about music, motherhood, the challenges of working in the industry, and going against expectations.

Jayda G opened the discussion by sharing that this was her first public event since becoming a mother, speaking openly about sleep deprivation, “mama brain,” and the physical and emotional demands of DJing while pregnant. She reflected on the lack of visibility for mothers in club culture and the importance of working in ways that feel safe and intentional.

Annie Mac spoke about how the pandemic shifted her relationship with touring, leading her to step back from late-night DJ sets and eventually launch Before Midnight (her early-ending club concept), designed for people who still love clubbing but can’t do 4 a.m. finishes.

Together, they explored how motherhood has reshaped their identities, the pressures of visibility in a male-dominated scene, and what it means to build a career that works on your own terms.

Listen to the full conversation to learn how they’re finding new ways to make it all work.

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Jayda G | Annie Mac | AVA Festival

Nat Oaks on Finding Her Voice in Alternative Hip-Hop

London-based singer-songwriter Nat Oaks is gaining recognition across the alternative hip-hop and indie pop scenes. Her latest single, ‘The Way You Want Me’, released during Pride Month 2025, marks a new chapter in her sound, moving away from people-pleasing and toward self-acceptance.

Following standout performances on the Main Stage at Love Saves The Day, Little Simz’s Meltdown Festival at the Southbank Centre, and her Glastonbury debut after placing second in the 2025 Glastonbury Emerging Talent Competition, Nat is making her mark on some of the UK’s most celebrated stages.

Influenced by artists like Loyle Carner, Arlo Parks, and Little Simz, she blends alternative hip-hop, R&B, and indie pop into a distinctive, emotionally honest style. Her live shows have led to support slots with Jelani Blackman, Pip Millett, and Master Peace, while her identity as a queer artist continues to shape her work and perspective.

We caught up with Nat as she enters a pivotal summer to talk new music, live shows, and letting go of expectations.

What’s the story behind your new single The Way You Want Me’?

The Way You Want Me came during one of the last mornings of a songwriting camp in the Cotswolds. My producer MSTRY had come up with a beat from the couch, and I mumbled over it coming up with a theme pretty quickly. I found myself reflecting on the position I was currently in – just wanting to enjoy the moment and not take things too seriously. I’m always cautious of not wanting to just make love songs, so this was a fun way to approach the topic.

How do you build trust and chemistry in a songwriting session, especially when time is limited, like at a camp?

I like to dedicate good time to get to know the other writers. It’s sets an important basis which allows us to open up and be more vulnerable. It’s generally a supporting environment because everyone comes wanting to make great music. I love getting to know them because it also gives you good insight to how they come up with lyrics, which helps me to adapt my own style and be more creative.

You’ve hit some huge stages this year at Love Saves The Day, Meltdown with Little Simz, and Glastonbury. What have those live moments taught you about performance, confidence, or connecting with a crowd?

I’ve been performing for five years now, since I was 18. It’s been really fulfilling to feel my confidence grow with every live show. With each show, I get a really warm response and it solidifies in my mind that I’m good at what I do. Once I had that realisation, which only really came about this year, it’s made it so much easier to get on the stage. I now know that the crowd is rooting for you to do well and give them a good show.

Nat Oaks - The Way You Want Me (2025 Glastonbury ETC Runner Up)

Your top tip to artists trying to find their own voice

Firstly, realise that it takes time. The type of songs I wrote and recorded when I was 18 are very different to the ones I make 5 years later. You have to trust yourself that your confidence will build, with each studio session and each show, until the point you know exactly who you are. I’m still on that journey, but feel a lot closer since I give myself the space to try new things and put them out there, no matter how successful they’d end up.

Your top tip to network with the right people in the industry.

Get creative! Remember, you’re your own brand. Be excited about what you have to offer, and take advantage of opportunities to get in the room. This can be attending events, whether industry or live shows, and being open to meeting all types of people. You never know where a conversation could take you. I had a funny experience at The Great Escape three years ago, where I got up on stage to dance (horrifically) with Ants Live. Through this, I met Dellessa James, who leads the exciting black music strategy at Amazon Music with +44.

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

When I get the time to make music, I often surprise myself with the lyrics I can come up with. I’ve always known myself as a creative person, even at school writing stories was my favourite thing. Being able to write a song that others can in some way connect to, and able to put on if they’re having a bad day, is really fulfilling. And the best thing about music is the endless possibilities of songwriting. It’s exciting to always feel like you’re yet to make your best song.

What are you listening to at the moment?

I’m listening to Little Simz’s new album Lotus. My favourite songs on there are Enough and Young. Sasha Keble is also filling up my playlist as I’m loving more soulful music at the moment. I’ve been lucky enough to see both of them live recently which brought the songs to life.

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Connect with Nat Oaks on Instagram

Gabriella Bongo on 'Breathe', Mentorship, and the Emotional Core of Drum & Bass

Gabriella Bongo is a writer, producer, and DJ from South London blending melodic depth with the soulful edges of drum & bass. A self-taught pianist who began producing at age nine using GarageBand, she honed her technical skills while studying sound engineering at ICMP London, where she recently graduated.

Influenced by artists like Dogger, Hybrid Minds, Rudimental, and Chase & Status, Gabriella’s music pairs sharp production with honest, lived experience. Since her debut in 2020, she’s gained early recognition through BBC 1Xtra and was selected as Hospital Records’ Women In Drum & Bass mentee in 2024. Her progress and production style stood out so strongly that Hospital offered her a full signing in March 2025.

Following her feature on Degs’ album (Spacesuit), she now makes her solo debut on the label with Breathe — the first of three upcoming singles exploring the more soulful and liquid side of the genre. With past performances at O2 Academy Islington and Hospitality In The Woods, and an appearance at Hospitality On The Beach in Croatia slated for July, Gabriella is proudly flying the flag for a new generation of drum & bass artists.

What’s the story behind your new single – ‘Breathe’ out on Hospital Records?

I think for a lot of musicians, music is an outlet - you end up expressing yourself unconsciously. Breathe was written at a time in my life where I was in a bit of a rough patch. I was having lots of panic attacks and the only way you’re taught to get through them is to breathe. I didn’t go into the session with the intention of writing about that - it just happened. I was in the studio with this amazing singer-songwriter called Sienna and without her I don’t think I’d have tapped into that.

Drum & bass rose from underground roots to a global audience, and lately we’ve seen a surge in vocal-led and more soulful cuts gaining traction. Why do you think it’s striking a chord?  How do you see your own sound contributing to that evolution?

I think people want to feel a bit more. The world is currently very fast paced and a lot of music today feels quite disposable to be honest. I think people want lyrics they can relate to and chords that make them feel sad or happy. I think my sound is for listeners across a multitude of genres. 

As someone who started producing from a very young age and now studies sound engineering, what’s one production trick or tool that totally changed the game for you?

Probably auxiliary sends. I love sidechaining my delay on vocals, doing some weird stuff to my parallel drum bus or even using a vocoder. I like how creative you can get with auxiliary channels/sends all whilst having the ability to keep a dry or less interesting version.

What’s your approach to collaborating with singers across different genres, and how do you make those pairings feel authentic?

I have to be a fan of their voice and they have to be up for trying something new - that’s the only criteria! These pairings often work and feel authentic because all they need to do is bring themselves and just do what they do best.

I never use reference tracks or try to alter their sound too much because I want it to be as original as possible - a piece of music that we’re both proud of. 

What’s one thing you wish more people understood about the work behind the scenes as a DnB producer?

I think all producers can relate to this but the session isn’t over for us once we leave the studio. I’ve been putting vocals through Melodyne in bed before, sending revisions of mixes while I’m on the go - the work is constant and sometimes not the most convenient.

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

My favourite thing would probably be that moment in a session where you think this is the best song you’ve ever made and you’ve outdone yourself. 

My least favourite thing would be writer's block.

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

Chewing Gum

Candy Kittens or Honey Roasted Peanuts

Water

What are you listening to at the moment?

Recently I’ve been listening to a lot of Florence + The Machine and Post Malone, very different artists.

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Gabriella Bongo x TJ - Breathe (feat. Jo) - Artwork

Connect with Gabriella Bongo

Instagram | TikTok

Creating Culture in Crisis: A Conversation with Ruth Daniel of In Place of War

Ruth Daniel is a multi-award winning CEO and Artistic Director of international NGO, In Place of War, a global organisation that uses artistic creativity in areas affected by conflict, social injustice, and climate change.

Originally founded as a research project at the University of Manchester in 2004, In Place of War has since grown into a network of more than 130 creative organisations across 30 countries. The organisation supports grassroots artists and cultural leaders through training, infrastructure-building, equipment donations, and international collaborations, with the aim of transforming cultures of violence into ones of hope and opportunity.

With over 20 years of experience at the intersection of music, activism, and community development, Ruth’s career includes co-founding the independent music conference Un-Convention, performing in the Manchester band The Fall, and producing collaborative music projects involving artists such as Coldcut, Brian Eno, Bicep, and Indigenous musicians from the Arctic. She also holds an Honorary Research Fellowship at the University of Manchester and has worked as a consultant for festivals and cultural institutions around the world.

For those new to your work, how would you describe what you do across In Place of War and beyond?

In Place of War is a global organisation that harnesses the power of music, arts, and creativity to create lasting change in communities affected by conflict, climate change, and social injustice, from Greenland to Uganda, Brazil to Australia.

We work directly with grassroots communities to co-develop opportunities for expression, collaboration, education, and infrastructure building. This includes donating equipment, mentoring, building music spaces, creating educational programs, facilitating international collaborations, and releasing music. Our work is supported by a global network of artists and music industry professionals who contribute time, resources, and expertise to amplify these efforts.

You've built creative projects in some of the most challenging places on Earth. What's the first thing you look for when entering a new community, and how do you build trust?

We never impose ourselves on a community, we only go where we are invited. Our approach is grounded in listening. We begin by understanding the community's unique context and identifying whether we can genuinely add value.

Needs can range from building a studio to preserving indigenous music or enabling inter-community collaboration. Trust is built by being present, listening deeply, and ensuring that any project is led by the community itself. Our role is to support (not direct) the vision and leadership already in place.

Your background in music includes time with The Fall. How has being an artist shaped the way you lead, collaborate, and build cultural infrastructure?

Being a musician since the age of 10, including performing in various bands and a stint with The Fall, gave me a real understanding of the artist’s journey—its challenges, complexities, and the struggle of sustaining creativity while making a living. I’ve witnessed the industry evolve from physical to digital and now to mobile platforms. This perspective led me to create Un-Convention, a grassroots music event focused on alternative models of music-making and infrastructure. It reinforced for me that music isn't just about commerce—it’s about community, ownership, and a Do It Together ethos.

What are your top tips for artists and cultural workers trying to connect with funders, collaborators, or mentors?

Reach out—but do it thoughtfully. Research who you're contacting, understand what matters to them, and tailor your message accordingly. Make a clear, respectful ask and show your passion. The best outreach resonates because it's personal and purposeful. Also, keep it concise—people are busy, and clarity is a gift. Most of my opportunities came from reaching out to strangers with a clear vision and an authentic connection.

What does cultural resistance mean to you in 2025, and how can music still be used as a tool for justice, visibility, and change?

In 2025, amid global crises—conflict, climate disaster, rising authoritarianism—cultural resistance is more vital than ever. Music is a powerful means to bring people together, foster empathy, and articulate complex emotions that transcend language. It allows marginalized voices to be heard, challenges systems of power, and builds movements grounded in community and resilience. Music can stir hearts, unite people, and inspire action in ways that words alone cannot.

Your career spans academia, festivals, community building, and activism. What have you learned about building sustainable, multi-hyphenate careers?

The idea of a single, linear career path no longer fits the world we live in. I’ve learned to embrace flexibility and to work across sectors—from music to academia to frontline activism. This cross-pollination enriches everything. I’ve also learned the value of relationships and adaptability. With AI, the pace of change is even faster. To stay rooted, we need to focus on what technology can't replace: human connection, creativity, and collaboration.

What’s the most important thing music professionals should understand when working with grassroots or underrepresented communities?

That these communities hold immense knowledge, creativity, and aspiration. The relationship must be mutual and rooted in respect. Avoid tokenism. Build trust and invest for the long term. Ask how you can serve—not what you can extract. True impact comes from deep, sustained engagement where both sides learn and grow.

What’s your best advice for building a creative career rooted in purpose, not just visibility or commercial success?

Lead with purpose. Audiences today seek authenticity and want to support work that has meaning. Purpose can be embedded in everything—from how you structure your business, to how you use your platform, to how you give back. Whether through mentoring, volunteering, or aligning with causes, let purpose be the throughline. Over the past 25 years, I’ve seen a clear shift: more and more artists want to make a positive impact, not just profit.

Three values that guide your work, no matter where you are in the world?

• Collaboration – Working together creates more powerful and meaningful results.

• Trust – Earned over time, it’s the foundation for any successful project.

• Respect – Honouring the expertise and leadership within the communities we support; we are there to assist, not to take over.

What does leadership in music and culture look like to you, and what kind of leadership is needed right now?

Leadership must be future-facing—concerned with sustainability, justice, diversity, and inclusion. It means building creative ecosystems that are fair and representative. We need leaders who are compassionate, collaborative, and able to guide through complexity. Unity, kindness, and vision are essential traits for navigating the turbulent times ahead.

What are you most excited about creating, supporting, or scaling in the next 12 months?

The Earth Sonic project is our most exciting upcoming launch. The first major project is called TAKKUUK, created in collaboration with Bicep and seven Indigenous Arctic artists, it’s a groundbreaking fusion of music, environmental consciousness, and cultural preservation. It’s one of the most beautiful and meaningful projects we've ever developed, and I believe it represents the future of how we can use art to connect, resist, and transform.

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Connect with Ruth Daniel | In Place of War | EarthSonic

Iris Gold on André 3000, Stage Nerves, and Staying Inspired

Over the past few years, Iris Gold has carved out a distinctive space in the international music scene. From supporting artists like Doja Cat, Miguel, Blur, and Taylor Swift to collaborating with Dave Stewart and touring extensively across Europe, she has developed a reputation for her high-energy live shows and genre-blending sound.

Following the release of her latest single “André 3k”, Iris Gold reflects on the moment that sparked her long-standing admiration for André 3000 and how it evolved into a full-fledged tribute. Released just days before the Outkast icon’s birthday, the track is both a personal love letter and a playful invitation, capturing Iris’s signature mix of directness and charm.

In this short Q&A, Iris talks about finding creative balance, building long-term collaborations, and why authenticity matters more than ever in the music industry.

Where did the idea for “André 3k” come from?

When I first saw André 3000 in Outkast’s music video for “Prototype” wearing a short white wig and galactic charm. I hoped I could be his Prototype. It was a magical moment and I felt an instant connection.

You’ve supported artists like Miguel, Doja Cat, and Taylor Swift. What’s one thing you learned from being around artists at that level?

No matter how big you are there’s always nervousness involved before going on stage. I have truly enjoyed watching each of them walking out to their first song of the concert, cause that’s where their essence is most powerful. 

You worked closely with Dave Stewart on your latest album. How do you build creative partnerships that evolve over time?

I am lucky enough that Dave and mine’s collaboration is also a friendship that is never ending. I will join him shortly to record the title track for my upcoming album.

For artists balancing live shows, recording, and media—what’s helped you stay grounded and inspired?

Meditation and a lot of inner work. That’s when I get downloads from the cosmos :)

What is your top networking tip for connecting with the right people e.g a manager or a record label? 

For me it’s about being as authentic as possible. Be bold and don’t be scared to approach people. If you don’t believe you are a rockstar - why should they?

Tips for finding your creativity on a tough day

Be present in whatever it is you are feeling and don’t try to force an energy that isn’t available. Try to never compare yourself to others. 

What are you listening to at the moment?

Outkast!

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Connect with Iris Gold on Instagram | YouTube

Neijah Lanae and Arniesha Williams on Building Groove Theory Project

Groove Theory Project is a platform for dialogue around music and culture. Co-founded by Los Angeles-based singer-songwriter and editorial writer Neijah Lanae and film producer and DJ Arniesha Williams, the podcast combines informed musical analysis with personal insight, examining how sound intersects with memory, identity, and community.

Neijah’s training in vocal performance—developed at Oakland School for the Arts—and her work in editorial writing position her to approach music as both structured discipline and social commentary. Her lens is shaped by storytelling, with a focus on cultural context and lived experience. Arniesha, a DJ with a background in performance and a deep grounding in music history, brings a precise, archival approach to sound, shaped by her work in entertainment production and a strong curatorial ethos.

Together, they’ve created a platform that revisits foundational figures in music while spotlighting emerging voices. In this Q&A, they reflect on creative process, intergenerational continuity, and the courage required to speak publicly with intention.

What inspired you to create Groove Theory Project and how do you define its mission in your own words?

I think the seed of the idea was planted by a conversation we had at a music-lover’s event called Vinyl & Vino. We were there to explore and analyze Erykah Badu’s debut album Baduizm and its cultural relevance. We bonded over our love and appreciation of neo-soul and the theoretical interest of music, art, and process. Neijah later presented the idea of a podcast and we began the ideation process soon after.

Through engaging experience, including our podcast that dives into culture, research, and artistry, we aim to inspire meaningful conversations about music’s role in shaping our world. 

Describe your creative roles behind the scenes. How do you divide the vision, sound, and storytelling between you?

We partner closely on all we do. We have similar perspectives and a clear vision of what we want to do, and our individual backgrounds are a huge help in fine tuning what we put out. We both pitch creative ideas, help refine and execute them, edit, and research.

Your podcast celebrates both legends and emerging artists. Why is that intergenerational dialogue important right now?

It’s always important to know the history behind something you love. There is so much rich history in music and it always informs where it is going in the future. Speaking to legends often helps ground topics and give a broader perspective of how music has evolved and how newer artists are carrying the torch in their own way. 

Neijah, as both a singer-songwriter and editorial writer, how do you see your voice shifting between music and the written word?

As an independent musician, I have full creative control over what I write and how I express myself. My voice is entirely my own, shaped by personal experience, emotion, and intuition. In contrast, my editorial writing lives in the world of marketing, where creativity is guided by brand strategy and larger business goals. While I still bring my unique voice to that work, it’s always in service of a broader vision beyond my own.

Moving between these two spaces has taught me how to be flexible with my voice. I’ve learned when to lead with instinct and when to shape it around a specific message or audience. Having experience on both sides has been valuable in unexpected ways. Each side sharpens the other: music keeps my writing grounded in feeling, while editorial work strengthens my clarity and discipline.

Arniesha, you’re a DJ with a deep knowledge of music history and performance. How does that shape the way you curate sound?

Understanding the roots of different genres lets me tell a unique story with each DJ set. Because I know where sounds come from and how they’ve evolved, I’m intentional about how I mix genres. I don’t like to just throw tracks together… I think about the significance behind them and how they relate to the story I want to tell. I love weaving deep cuts and unexpected edits into my sets. I like to find obscure tracks and reintroduce them in fresh ways. I try to take the crowd on a sonic journey with the sounds that I curate. My style of Djing is largely about context and discovery. 

Tips for anyone who wants to start a community-centered music platform or podcast? What do they need beyond a mic?

Definitely a period of development to explore and hone in on your purpose, content structure, logistics, distribution, and overall branding. It’s nice to be intentional about starting a podcast, there are so many of them out in the world. 

What’s been the most surprising lesson from building Groove Theory so far—creatively or personally?

One of the most surprising lessons has been realizing just how much courage it takes to share your thoughts and opinions publicly. Even though the conversations on Groove Theory Project feel natural and honest, there’s still a level of vulnerability that comes with putting our perspectives out into the world. 

It’s also been a personal lesson in patience and practice. Articulating complex ideas about music, culture, or our own lived experiences doesn’t always come easily in the moment. Over time, we’ve both learned to trust our voices not just in what we say, but in how we communicate and collaborate with each other. That trust has helped us grow more confident in how we express our thoughts on the podcast, and it's made our conversations feel more grounded and intentional.

A day in your lives; what does it look like balancing independent music, storytelling, and production work in LA?

It takes lots of time management, lots of scheduling, and lots of intentionality to pour into the things that matter. We took a lot of time to develop this concept before releasing it to the world, which helped a lot with the episode shoots and editing process when it came time to execute. 

While we do have busy lives day-to-day, working on Groove Theory Project often feels rewarding because it is something we are building ourselves and feel passionate about.

Three values that ground how you approach creativity and collaboration.

Intentionality, preparation, and communication. 

What do you want people to feel or walk away with after listening to an episode of Groove Theory?

We want them to feel inspired to continue the conversations that we start, create their own dialogue, and engage in their own ways with the same topics. 

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Groove Theory Peoject Website | Podcast Instagram

Neijah & Arniesha Instagram

Pride Guide 2025

This guide is a resource for LGBTQIA+ people and allies. It includes events, some that shesaid.so members and Chapters are performing or hosting, as well as other events happening that you may want to check out.

The guide has helpful resources you can utilise, including Pride in the Workplace Docs and our very own Intersectionality Guide written by the late Yasmin Lajoie, to name a few.

At the bottom of the guide we have also provided a list of charities and organisations that you can support / you can go to for support. We recommend checking this list out to make yourself familiar with the awesome work these organisations are doing, and to check out if they are hosting any Pride Initiatives that you can participate in.

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In Focus: The Trans Creator Community

“To be trans today is to be under siege. Across the world, governments are rolling back our rights — including here in the UK. In April, the Supreme Court declared that the legal definition of ‘woman’ rests on biological sex alone, a move condemned as a dangerous regression by trans communities and allies alike. “

To kick off Pride Month, @charlie_craggs spoke to some of the most exciting trans music creators working today about their influences and the legacy of the trans musicians who came before them.

Read more HERE.

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The Fruit Salad Event Collective

The Fruit Salad Events Collective members have 47 events for you this pride month with only 3 days in June having no queer run events for connecting!⁠

Find everything from Zine-making, Salsa nights, speeding dating, clothing swaps, platonic co-parenting meets, Trans Saunas, parties, board game nights and so much MORE!

Visit their site HERE to see what’s on throughout Pride Month

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Queer Co-Working Fridays @ the Albany, London, UK

Location: The Albany, Douglas Way, London, SE8 4AG @thealbanyse8

Date: Every Friday in June 9am-6pm

A co-working space for LGBTQIA+ creatives freelancers, students and anyone working remotely.
Every Friday in Pride month 9am-6pm
£5-£10 for the whole day
Book on their website with the code QueerCowork or book at reception on the day!

We'll also be having a lunch hour social in the CaffA of the albany which anyone can join who wants a chat over lunch
See you there!

More Info HERE

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Athens Pride - 20 Years

Date: June 14 | Location: Syntagma Square | Time: 7pm

We count joy

We count losses

We count victories

We count disappointments

We count struggles

Right now, more than ever, the global situation shows us that no hard-won right is guaranteed. Instead, our rights—and our very existence—are being questioned daily. The rise of the far-right and the normalization of hate speech in political and media discourse poses a threat to all of us. LGBTQI+ refugees and migrants face growing exclusion, subjected to multiple layers of discrimination driven by racism, sexism, homophobia, and/or transphobia.

For all these reasons, our presence in public space remains an undeniable right, a historical duty, and an act of resistance against a violent public discourse that seeks to erase us.

The fight for equality is ongoing and relentless. We are here—and will remain here—to keep fighting.

On Saturday, June 14th, for the twentieth year, we gather once again in Syntagma Square, carrying with us countless moments of joy and sorrow, victories and losses that have shaped us. We join hundreds of thousands of people in this massive day of celebration, protest, and remembrance.

20 years… and we keep counting!

Info

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Trans Pride LA 2025

Trans Pride LA 2025 is a celebration of our vibrant TGNBI+ community, filled with love, support, and visibility for all!

Date: Jun 14 | Time: 2:00 pm - 10:30 pm

Buy Tickets

Trans Pride Los Angeles (TPLA), the country's longest-running Pride celebration dedicated to TGNBI+ folks, is back for another year! Spotlighting the Trans*Lounge program and other services provided at the Los Angeles LGBT Center, this all-ages, free event expects 1,100+ attendees.

TPLA is hosted by the Trans* Lounge program, the Los Angeles LGBT Center’s groundbreaking education & empowerment program dedicated to serving Los Angeles’ trans and gender expansive community.

This year's event will celebrate the 10th anniversary of Trans*Lounge with award-winning author Tourmaline as our keynote speaker. 100 copies of Tourmaline’s new book Marsha will be distributed to guests during the event on a first-come, first-served basis. 

Trans Pride Block Party: 2:00PM - 7:00PM

We are shutting the street down and spreading Trans Joy everywhere! This event includes: Children & families activity area, live performances & entertainment, educational & wellness workshops, market vendors & resource fair, food vendors and a keynote moment with Tourmaline! ASL interpreters will be available throughout the festival stages & workshops. Full schedule will be posted closer to event date.

Trans Pride After Dark: 7:30PM - 10:30PM

Come let loose at the 2 Year Anniversary Party of TheyHouse. In special coordination with TPLA, where we'll turn the Center's Village Courtyard into LA's hottest nightclub! Expect a DJ, go-go dancers, tattoo artists, and tacos!

Trans Pride LA is made possible by Official Sponsors Out of Character and women-owned Curvy Couture, and Supporting Sponsor Align Surgical Associates Inc.

More Info

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EuroPride 2025

Location Lisbon, Portugal | Date: 14-22 June, 2025

EuroPride 2025 will take place, for the first time, in the beautiful city of Lisbon. More than a celebration, this event is an important statement of visibility, unity, and resilience.

Join us in Lisbon to honor our achievements, continue the fight for equality, and inspire hope for a more inclusive future – Proudly Yourselves!

Info

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Loving Me

Training for professionals who may find themselves working with trans / non binary people who have experienced domestic abuse.

We offer a full day training course titled Trans+ Inclusive Practice. This training is aimed at any professionals who may come into contact with trans and non binary people experiencing domestic abuse. Training is provided several times a year, organisations can book training for groups of staff or individual staff members. Training is £50 per person, for services based in Lancashire training is free. Get in touch to ask about bespoke training or for larger groups.

Please complete the training enquiry form below and a member of the team will get back to you.

Apply HERE

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Celebrate a week of Pride in Brooklyn

Not to be outdone by the preceding two boroughs, Brooklyn goes big with a full week of Pride-related events and activities. It kicks off June 9 at 6 p.m. with the Brooklyn Pride Honors at the Center for New Jewish Culture. And Brooklyn Pride lasts until Sunday, June 15, when the Everybooty Tea Party goes down at BAM.

In between, there’s a comedy show at Littlefield on Tuesday, June 10, Pride Night at the Brooklyn Cyclones game on June 13 and a whole day of festivities on June 14, starting with a 5k run and ending with a Twilight Parade down Fifth Avenue between Lincoln Place and Ninth Street.

The parade starts at 7:30 p.m., and you can check out the full list of activities here.

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Two Getty Exhibitions/One Fun Night

MONDAY, JUNE 16, 2025
1200 Getty Center Drive
LA, CA 90049

LA Pride is proud to partner once again with the Getty for a special Salon Series evening at the Getty Center for the opening of two exhibitions: Queer Lens: A History of Photography and $3 Bill: Evidence of Queer Lives, which celebrate two centuries of LGBTQ+ history, people, and culture.

On Monday, June 16, we’re co-hosting an exclusive LA Pride party with art, music by DJ Bradley John, light bites, hosted bar, and more.

Can’t make it? No problem. The exhibitions run through September 28! But we highly recomend you join us for the very speciak event at your hometown, world-famous Getty Center!

Free RSVP

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The Outside Project: TRANS+ CRISIS HOUSING RIGHTS

Location: The Outside Project LGBTIQ+ Centre, Unit 1, 52 Lant St, London SE1 1RB

Date: 16th June 2-4pm (we will be open from 1pm if you want to come along early for a shower or a snack)

EHRC CONSULTATION COMMUNITY MEETING

What is this meeting about?

Our crew + legal friends will read through the EHRC consultation, answer questions you have and support you to respond.

Who is this meeting for?

Trans+ people who are homeless or living in temporary shelter, refuge or NASS housing.

RSVP required. Please speak to a member of our team or email QLF@lgbtiqoutside.org

More Info HERE

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Queer Noise - heART and home Showcase

Location: The Space, 269 Westferry Road, London E14 3RS

Date: Wednesday 18th June, 2025

Doors: 7pm / Start time 7:30pm
Run Time: 120 Minutes (Including 20 minute interval)

Join us for an evening of poetry, zines, and powerful performances exploring home, identity, and belonging — created by our incredible LGBTQ+ community. Grab your FREE tickets now via link below.

Featuring the phenomenal Maureen Onwunali, a two-time national slam champ and Roundhouse Resident Artist!

Plus, hear real stories and housing support tips from those with lived experience.

Free tickets for LGBTQ+ community members and those on low income.

Presented by Queer Noise and Stonewall Housing, funded by the Canary Wharf Group Community Grants Programme.

(Stonewall housing is a small LGBTQ+ homelessness charity and not affiliated with Stonewall UK)

Get Tickets HERE

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Consortium: Funders Fair 2025 

Location: Shoreditch (venue will be shared in a confirmation email)

Dates/Times: June 19 • 5:00 pm - 8:30 pm

Don't Miss Out! Our Free Funders Fair is Back – Bigger and Better! 🚀

Calling all LGBT+ organisations! At Consortium, we know how vital securing funding is for the incredible work you do.

That's why we're thrilled to announce the return of our highly anticipated Free Funders Fair in Shoreditch, London, on June 19th from 5:30 PM onwards (with a 6 PM sharp start!).

Last year's in-person event was a massive hit, and this year, we're building on that success! We've invited even more funders to join us, giving you a chance to connect directly with organisations eager to support your initiatives and support our sector's work.

Why This Event Is For Your Organisation:

* Direct Access: Hear firsthand about various grant programs from a diverse range of funders, specifically looking to support LGBT+ initiatives.

* 1:2:1 Conversations: This is your opportunity to engage in personalised discussions with funders. Present your organisation's needs and projects directly, forging connections that can lead to impactful partnerships.

* Networking Power: Connect with fellow LGBT+ organisations, share insights, and build valuable relationships within the sector, fostering a stronger collective voice.

This #FREE event, organised by the London Engagement Team, has been designed to bridge the gap between dedicated LGBT+ organisations like yours and the funding they need to thrive and continue their essential work.

Are you ready to secure your spot and unlock potential funding for your organisation? Don't delay! We'd absolutely love to see you there.

More Info

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Upcoming Queer Capita Pride Month Events

Join Queer Capita, Amazon Music, Virgin Music Group, and The Recording Academy NY Chapter for ou their NYC Music Industry Pride Month Fundraiser! 

Celebrate Summer Friday with us on the roof at the Amazon Music HQ in NYC!

RSVP includes open bar, light bites, and music by the Amazon Music team.

We will host a live raffle for Amazon devices, with tickets distributed while supplies last at check-in.

RSVP HERE

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Queer Capita x MMF x Queer Music Hangs Mixer

Tue, Jun 24, 2025 at 7:00 PM

BSPOKE/LA

439 North Fairfax Avenue, Los Angeles, CA 90036

Get Tickets

Details

Queer Capita is teaming up with our friends at Music Managers Forum and Queer Music Hangs for a fun night out! Celebrate Pride month and connect with other folks in the music industry!

RSVP HERE

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Resource Fair

A free event designed to empower the LGBTQ+ community by providing vital health services, legal support, and access to social resources.

Date: Jun 20

Time: 10:00 am - 4:00 pm

Location: The Village at Ed Gould Plaza

1125 N McCadden Pl

Buy Tickets

The LGBTQ Health & Resource Fair is an opportunity to bridge gaps in healthcare access and strengthen community connections. At a time when LGBTQ+ rights, healthcare access, and social services are increasingly under threat, it is more critical than ever to create intentional spaces of support, advocacy, and empowerment. The Health & Resources Fair is not just an event; it is a direct response to these challenges.

By bringing together healthcare providers, legal advocates, and social service organizations, we are taking action to bridge gaps in access, counter misinformation, and ensure our community knows where to turn for affirming, life-saving care. Grounded in the values of community, integrity, courage, liberation, and joy, this event is a bold declaration that healthcare is a human right, and every LGBTQ+ person deserves to thrive. Rooted in values of equity and liberation, the event offers health information sessions, mental health wellness resources, legal support, access to social resources and more!

Partnering Agencies:
APLA Health
Diversity Collective
The LGBTQ Center Long Beach
The OUTreach Center
Qweerty Gamers
Alzheimer’s LA’s
Wise & Healthy Aging’s
PAWS/LA
Social Impact Center
And More!

Free parking is available, ride-share is encouraged.

Info

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3xNYX: Amsterdam 750

Location: 3xnyx

Reguliersdwarsstraat 42, 1017 BM Amsterdam, Nederland

Date: Sat, June 21 from 22:00-04:00

🎈750 and still throwing tantrums!

On June 21st, we celebrate 750 years of Amsterdam with a full-blown QUEER birthday bash. Imagine a 5-year-old’s chaotic birthday party but hosted by drag goblins, glitter demons, and rave dolls. Balloons, streamers, confetti, cake… and jockstraps!

Blow out the candles, blow up the dancefloor!

Get ready for a night where childlike wonder crashes into adult queerness. Play-Doh meets latex. Juice boxes meet poppers.

Room 1: POP | Birthday Meltdowns & Glitter Hits

• Prince Jayjay

• Gabriell

• More tba...

• Hosted by Plushy Spiders & Miss Jake

Room 2: R&B | Dancehall | Bubblegum & Booty

• Samaker

• DJ Cleyani

• Krioro

Room 3: Techno | House | Cake-Fueled Chaos

• HIM

• More tba...

🎟️ TICKETS

• Early Access: €10,00 ➡️ Entry before 00:00 only

• Regular Ticket: €12,50 ➡️ Priority entry until 00:00, queue applies after

• Door Sale: €16,- ➡️ Available at the door all night

Info & Tickets

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Body Swap Trans Healthcare Fund

Location: Dalston Superstore, 117 Kingsland High Street, E8 2PB

Date: Every Wednesday

Dalston Superstore’s weekly party for the trans+ community BodySwap!

Every Wednesday from 10pm, curators Harietta and Karlie Marx play Transgender Dance Music along with guest DJs, gogos and cvnty club kids. It’s the only place to be on a Wednesday night in Dalston!

This is a space for trans* power, rage, beauty, resilience, and joy. BodySwap celebrates and platforms trans* artists from diverse backgrounds, while raising crucial funds. BodySwap is by and for trans people. Each week we raise money for a trans person’s healthcare fundraiser with our door profits, so come through and party in community with the transexuals of Kingsland Road.

FREE ENTRY

Info & Tickets

SUBMIT YOUR FUNDRASIER

Fundraiser policy: We raise £200 for each trans healthcare fundraiser submitted, moving to the next fundraiser once our £200 target is reached. 

We have been able to donate £200 to 71 trans people raising money for gender affirming healthcare between January and September 2024. 

We work on a first come, first serve basis - but fundraisers for trans POC are prioritized & bumped to the top. 

Please input your info below to be added to our database of fundraisers. Feel free to submit fundraisers on behalf of other people <3

SUMBIT HERE

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GOOD LAW PROJECT Crowdfunder: Fighting fund for trans rights

Funds raised will support our cases fighting for trans rights in the UK.

Ten per cent of the funds raised will be a contribution to the general running costs of Good Law Project. It is our policy only to raise sums that we anticipate could be spent on the work we are crowdfunding for. However, if there is a surplus it will go towards our work fighting for a fairer, greener future for all.

Info & Tickets

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Pitchfork and Them Announce 2025 Night Out Pride Celebration and Concert

Date: June 25 | Location: NYC

Pitchfork and Them are happy to announce that Night Out is returning for Pride Month. The event takes place on Thursday, June 26, at Knockdown Center, in Queens, New York. Doors for Night Out open at 7 p.m. Eastern Daylight Time.

Performing at Night Out are hyperpop artist Underscores, left-field Minnesota rapper Dua Saleh, British rapper and producer Skaiwater, and DJs from the New York drag collective Bushwig. Tickets are available here.

Pitchfork and Them’s first Night Out event took place in 2023. The show featured Tinashe, Lido Pimienta, Zebra Katz, and others. Check out “Live Photos From Pitchfork and Them Present Night Out, a Pride Celebration and Concert.”

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Reverie Wellness Retreat for Queer Women & Non-Binary People of Colour

Location: Green & Away

Green & Away C/O The Fold
Bransford, Worcestshire WR6 5JB United Kingdom

Date: June 26 • 3:00 pm - June 29 • 12:00 pm

Embark on a transformative journey with us. Reverie has been crafted with love and intention. We’ve partnered with Green & Away to create our very own Queer sanctuary where personal growth and community building intertwine.

Surrounded by lush Worcestershire countryside and nestled below the River Teme, this is a space to pause, breathe, and reconnect with what truly matters.

Rediscover the joy of stillness, connection, and the healing power of nature. Rekindle your relationship with the earth, foster deep connections with others, and leave feeling grounded, uplifted, and inspired. Come as you are—this space was made for you.

Info & Tickets

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Gendered Intelligence - Trans Prides in 2025

Location: Multiple

Date: Multiple

Pride is a protest, and right now, it’s more important than ever.

Gendered Intelligence has compiled a handy list of all Trans Pride events happening this year.

Don’t see your local Trans Pride event listed here? Let them know and they’ll add it to the list below.

Late additions:
20 July - Leeds
26 July - Folkestone
6 September - Guildford

View the post HERE

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Tropikali Festival 2025

Date: 29-29 June | Location: Noorderlicht Café NDSM-Plein 102, 1033 WB Amsterdam, Netherlands

Tropikali is a musical journey from Berlin to Rio, with a layover in Beirut. Tropikali features four distinct stages with a variety of music genres, including electronic Latin, global music, Balkan/Middle Eastern pop and the freshest techno and house. At Tropikali we celebrate the amazing richness of the LGBTQIA+ scene.

The festival is a space where LGBTQIA+ people can express themselves freely and without judgment. Tropikali is famous for its international crowd of progressive people who come together to celebrate music & diversity, making it a truly unique experience. SECRETO stage is back — and so is FLINTA collective The Planet!

On Saturday, June 28, they’ll take over the stage with bold, unapologetic talent. Expect power, extravagance, and nonstop energy from start to finish..

Get Tickets

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DISABLED QUEER PROM!

Location: The Albany

Douglas Way, London, SE8 4AG

Date: Sat 28th June, 7-11pm⁠

How better to celebrate the transition from LGBTQ Pride to Disability Pride Month than with a big accessible queer prom?! Join us for a night of dancing, singing, celebrating and being your full fantastic self! More details to come and we'll have some *very* special performances, karaoke, space to meet new friends (and potential dates), and a playlist of pure queer joy⁠

We'll be celebrating and centering disabled members of the community but all allies are welcome! Bring your queer mates

This event wouldn't be possible without the support of @gaytimes and @restless.violets - two wonderful publications and the sponsors of our event!⁠
If you'd like to join them in sponsoring us we have a crowdfunder to help us pay ourselves for putting the event on! Links via @everybodyqueer!⁠
️

✨️⁠ACCESS✨️

• Step free 

• 2 accessible toilets 

• Quiet room 

• Outside space 

• BSL interpreter 

• Free PA tickets 

• No flashing lights 

• Gender neutral toilets⁠

• Stim toys

Tickets & Info

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New York Pride

Date: Jun 29 10:30 am

Location:General William Jenkins Worth Monument | New York, NY

New York Pride is an annual celebration of the LGBTQIA+ community, culture and pride in New York City. The NYC Pride March is probably the best-known of all the NYC Pride events. The Pride Parade is held on Sunday June 29th 2025 and traverses Fifth Avenue and ends in Greenwich Village. On Christopher Street, it passes Stonewall Inn, the site of the 1969 Stonewall Riots. The protests are considered to be the pinnacle of the events that led to the gay liberation movement and helped to establish LGBTQIA+ rights in the United States.

More Details

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GAL PALS: LONDON PRIDE

Location: EartH (Evolutionary Arts Hackney)
11-17 Stoke Newington Rd, London N16 8BH

Date: Sat, July 5th

Gal Pals Presents... Dyke Pride! Join us for London Pride as we throw one of London's BIGGEST Pride parties for queer women, trans and non-binary people.

With over 1400 dykes under one roof we're gonna give you one big huge sapphic celebration. Featuring super sexy stage performers, a very special guest performing LIVE and of course our resident Gal Pals DJs playing you the very best in female-fronted pop, hip-hop, r&b, disco, dance and queer anthems!

We will also have a giant chillout room upstairs with plenty of seating and dark corners for DMCs and snogs

Gal Pals is a space BY and FOR lesbians, dykes, queer and bi women, transmasc, transfemme and non-binary people. Our Pride will be a celebration and centering of our communities, who are too often sidelined by mainstream Pride events. We aim to provide a safer space where you can let your guard down and feel free to get sexy and silly without fear of harassment or judgement.

Info & Tickets

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Baller FC presents Slaying The Field

Location: Signature Brew, Blackhorse Rd, E17 5QJ

Date: Saturday 5th July 2025 1pm - 1am

📣 PRIDE IS COMING HOME📣

Saturday 5th July sees our biggest party yet as we celebrate Pride in London - and England and Wales launching their tournament campaigns⚽️🏟️🏆

We’ve got a 12 hour spectacular festival for y’all at Signature Brew Blackhorse Road with some of our favourite promoters and football collectives – Uhaul Dyke Rescue, Match of the Gay, Purple Pool as well as our indoor cinema where you can catch the incredible queer short footy films Solers United and We’ll Go Down in History (Truk United FC) 🎞️⚽️

You’ll be well fed by The Deaf Chefs + 7 Bone Burger food trucks 🍔 and well watered by all the Signature Brew bars plus Uhaul will be pulling up with their Mobile Dyke Bar 🚚 - they’ll be knocking out frozen margaritas 🍹with a side serving of arm wrestling 💪After nightfall, they’ll be hosting a DJ takeover in the Brewhall with Rescue icons Harietta and Daisy Gadd on the decks 🪩

Please DM us with any Qs and requirements - @signaturebrewbh Blackhorse Road is an accessible site with accessible toilets.

Info & Tickets

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Adonis Pride 2025

Location: 60 Dock Road, London, E16 1YZ

Date: July 6th, 10am - 10pm BST

Lineup: Gideön, Grace Sands, Hannah Holland, Jeffrey Hinton, Jennifer Loveless, Kasra V, Leeon, Michelle Manetti, Midland, OK Williams, Rush Davis, Seb Odyssey, Shay Malt

Tickets & Info

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2nd Annual Trans Pride 5K Run & Celebration

8:30AM SUNDAY, JULY 13, 2025
Crystal Springs Picnic Area
Pettigrew Field Griffith Park
4730 Crystal Springs Dr
Los Angeles, CA US 90027

LA Pride is please to endorse the 2nd Annual Trans Pride 5K in Los Angeles: Worried about the relentless assault on the LGBTQ community in America? Trans joy is revolutionary, so let’s come together for a day of movement, resource sharing, fundraising, and more! All are welcome and wanted!

Open to all ages and skill levels, LGBTQIA+ individuals and allies, and family-friendly!

Not into running? Celebrate at the Trans Resource Exchange, Picnic, and Raffle to soak in the fest, and raise funds for our Finish Line Grant (learn more below)

Don’t live in LA or can’t make it to the park? Grab a few friends and register for the virtual run! Post your pics, and be sure to tag @transpride5K to spread the love.

Finish Line Grant: One individual will receive the Finish Line Grant to assist them in their endeavors directed towards making a lasting impact on our Trans community and beyond.

Don’t miss out on this incredible opportunity to receive the support and financial aid you’ve been waiting for to keep on keeping on.

Applications open NOW: Apply HERE.

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Cake & Chaos: The T Party

Location: The Dome, Tufnell Park, London NW5 1HL

Date: Saturday 19 July 2025 at 18:00.

Lineup: Mama Mamba Clay Taurus Broke Boy DeevaD

CAKE & CHAOS, The T Party is a fundraising event brought to you by One Night Parties and Big Fat Cabaret, and hosted by The Dome. This will be an evening of festivities to raise important funds for these grassroots organisations doing live-saving work for the Trans communities in the UK: Trans Kids Deserve Better, Black Trans Alliance, Trans Legal Clinic and Not a Phase. The night will consist of a panel talk on the current trans experience and how we can be better allies, market stalls, performances, a cake sale, a prize raffle, a BBQ in our beer garden, DJs and much more!

Info & Tickets

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Dekmantel ...IsBurning

Date: August 1st, 2nd & 3rd

Pride's hottest couple just got back together!

Dekmantel Festival is continuing its long-standing collaboration with IsBurning, hosting three consecutive club nights at Lofi Amsterdam this summer.

The partnership dates back to the festival's early days, including the legendary Trouw afterparty and last year's marathon. 

All Upcoming IsBurning Events

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Maiden Voyage Festival

Date: 9 August | Location: Burgess Park London

Four stages and distinct stage hosts representing the city's vibrant dance scene, capturing the essence of London's underground and showcasing it in a unique outdoor setting. High energy, uncompromising sound & production and a diverse, cutting-edge lineup.

A long-time champion of London's sound and dancefloors, Azealia Banks returns to London to headline the PXSSY PALACE mainstage at Maiden Voyage Festival after her run of sold out shows last year. This has been 10 years in the making for PXSSY PALACE. Alongside PXSSY PALACE, FOLD return to host the UNFOLD stage. Last year, we saw UNFOLD residents James Newmarch, Voicedrone and more deliver an exceptional day's programming, with a special guest appearance. Expect more of the same this year.

Adonis join the party, best described by The Face magazine: 'hypnotising techno and house beats, a bevy of bare-skin bodies romping through the night in a glimmering sheen of sweat’.

Tickets

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Body Movements Festival

Date: 24 August | Southwark Park, London

body movements is a place where queer + trans art is discovered + applauded, queer exploration is encouraged, and queer expression flourishes.

from our roots as a DIY, radical queer gathering, sprawling across 15 spaces in hackney wick, we are now growing into an open space amongst the trees of southwark park; a space that we can call our own, a space where we can develop bespoke stages with high-end sound + lighting to enhance your dance, and a space for curiosity and allyship to flourish.

our dream has always been to find our bodies in spaces we never thought we would be, spaces where we are all free to connect, to grow, to express and most importantly to MOVE.

Last Remaining Tickets

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Resources

shesaid.so’s Trans & Ally Resource Hub

This hub was created to support our trans and nonbinary communities and equip allies with real tools for advocacy. Below, you’ll find curated resources covering legal insights, mental health, allyship, petitions, and more.

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**The Ultimate Guide To Celebrating Pride Month 2023 - By Chloe Carr**

The "The Ultimate Guide to Celebrating Pride Month 2023" is a resource written by Chloe Carr. It provides a comprehensive overview of how you can celebrate Pride month, how you can host your own Pride event, how allies can support, as well as some history and education on the LGBTQ+ community.

Intersectionality Style Guide - By Yasmin Lajoie

In this style guide, you will learn more about unconscious biases you might have and how to address them through language. It might bring forth matters that you might not have considered before. All of that is absolutely normal and a part of the learning process. By embracing an intersectional language, we hope to at the very least create awareness and, ideally, facilitate equal opportunity for all.

Workplace Pride Resources:

LGBT+ Workplace Monitor Resource - Global

Trans-Inclusive Workplaces Guidelines - Global

Rainbow Migration Resources:

How to Apply for Asylum - UK

Lambda Legal Resources:

Legal Docs Archive - USA

Trans Charter for the Music Industry

The Trans Charter for the Music Industry (created by Saskhia Menendez) is a transformative initiative designed to create real, systemic change. It offers a set of actionable guidelines that music organisations, labels, venues, festivals, and professionals can commit to.

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LGBTQ+ Charities To Support/That Can Support You

This list is not extensive and we encourage you to also go out and research other charities that may be local to you or support LGBTQ+ people in other various ways.

These charities are also great to be aware of should you need support and you didn’t know there was an organization that could help.

Stonewall

Stonewall is a UK-based charity that advocates for the rights of LGBTQ+ people. They work to create a world where every person can be themselves and are committed to making a positive difference in the lives of LGBTQ+ people by empowering individuals and changing institutions.

Pride In Music

Pride in Music is a UK-based charity that aims to improve the representation and visibility of LGBTQ+ people within the music industry. They provide a platform for queer musicians, support LGBTQ+ artists, and work to create a more inclusive music industry.

Switchboard

Switchboard is an LGBT+ helpline that provides support and information to anyone who identifies as LGBTQ+ or may be questioning their gender identity or sexual orientation. They offer a safe and confidential space to talk about anything, including mental health, relationships, and coming out.

BTFA Collective

BTFA Collective is a UK-based collective of Black transgender and gender non-conforming people. They work to promote and support the health and well-being of Black trans communities through various initiatives, including advocacy, education, and community organizing.

Rainbow Migration

Rainbow Migration exists to support LGBTQ+ people navigate the asylum and immigration system. The charity’s main goals include ensuring that LGBTQ+ people are treated fairly and with dignity and that those who need protection are granted leave to remain in the UK.

Lambda Legal

Lambda Legal is a US-based organization that fights for the rights of LGBTQ+ individuals and those with HIV. They work towards achieving full equality for these communities through litigation, education, and advocacy.

Queer Capita

Queer Capital is a non-profit organization that provides support and funding to LGBTQ+ entrepreneurs, with a focus on those from underrepresented communities. They offer mentorship, networking opportunities, and access to funding to help LGBTQ+ businesses succeed.

Pride Foundation

Pride Foundation is a US-based organization that works to advance equality and justice for LGBTQ+ people through scholarships, grants, and advocacy. They focus on supporting organizations and individuals in the Pacific Northwest region of the United States.

Center for Black Equity

The Center for Black Equity is a US-based organization that works to promote equality and justice for black LGBTQ+ individuals. They aim to empower their community through advocacy, education, and leadership development.

Saffron

Saffron is a UK-based organization that supports LGBTQ+ people in the music tech industry. They provide a range of support services, including mental health resources, mentorship programs, and networking opportunities. Currently, Saffron is fundraising to stay in operation and continue providing these important resources to the community, to donate click HERE.

OutRight International

OutRight International is a US-based organization that works to advance human rights and opportunities for LGBTQ+ individuals all around the world. They advocate for change by conducting research, collaborating with partners, and engaging in advocacy at the local, regional, and international levels.

Workplace Pride

Workplace Pride is based in Amsterdam, their activities include both the Netherlands and many countries around the world. They strive to empower workplaces to create environments where all employees can be themselves, regardless of their sexual orientation, gender identity, or expression.

Trevor Project

Trevor Project is a US-based organization that provides crisis intervention and suicide prevention services to LGBTQ+ youth. They offer a range of resources, including a 24/7 hotline and online chat, to support those in need and promote mental health and well-being.

Mermaids

Mermaids is a UK-based charity that supports transgender, nonbinary, and gender-diverse children, young people, and their families. They offer a helpline, advocacy services, and various resources to help those in need.

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.

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

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.

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Refugee Week has evolved into an international movement, with events spanning the globe.

We Are The Many at EartH Theatre (London) on Sunday, 15th June:  https://dice.fm/event/q2gby9-we-are-the-many-festival-15th-jun-earth-london-tickets?lng=en

To discover events near you or to connect with local, regional, or international organisers, visit https://refugeeweek.org.uk/contact/national-and-regional-contacts/

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