98 Poly Breaks Down Her DIY Sound

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

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

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

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

What’s the story behind Shallow Man? 

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

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

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

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

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

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

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

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

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

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

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

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

Tips for finding your creativity on a tough day

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

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

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

What are you listening to at the moment?

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

  • Makes u wonder - Bassvictim

  • FUN! - KUČKA

  • K1 - Aloka

  • Obvious - Oklou

  • Air Bnb Sonnet - The Hellp

  • Freak Baby - Izzy Camina

  • Depression Chamber - Samuel Organ

  • HOCKEY PUCK - Sweets

98 Poly on Instagram | Music

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

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Photo Credit: Paulo Vivanco

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

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

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

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

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

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

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

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

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

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

What’s the story behind your new single Siren?

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

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

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

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

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

What’s your best networking tip?

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

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

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

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

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

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

  • Interview by @ninakeh

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

Instagram & TikTok | Website

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

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Photo Credit: Gil Curujeira

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

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

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

What’s the story behind your debut album Antidote?

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

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

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

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

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

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

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

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

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

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

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

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

Photo Credit: Gil Curujeira

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

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

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

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

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

Favorite thing is creating a world.

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

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

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

What are you listening to at the moment?

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

Neva Demure on Instagram & Bandcamp

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

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

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

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

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

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

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

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

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

Speakers confirmed for the panel:

- Nadine Noor (Pxssy Palace)

- Melissa Kains (Sisu)

- Nina Kehagia (shesaid.so)

- Vix Brand (shesaid.so)

Moderator: Nikki McNeill (Global Publicity)

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

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

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

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

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

How did you get your start in music?

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

Describe a day in your life as tour manager.

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

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

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

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

Amanda Barker & Becky Hill

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


  • Interview by @ninakeh

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

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

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

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

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

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

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

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

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

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

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

Describe your music in 3 words. 

Melancholic, Reflective, Vibey

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

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

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

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

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

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

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

Glossier Generation G in Leo, EarPods, Lucky Coin

What are you listening to at the moment?

The Mighty Tiny & The Many Few

Keep Up with Ray Lozano

Instagram | TikTok

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

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NYX | Photo Credit: Joseph Lynn

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

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

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

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

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

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

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

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

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

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

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


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

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

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

NYX | Photo Credit: Joseph Lynn

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

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

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

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

Tips for finding your creativity on a tough day

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

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

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

What are you listening to at the moment?

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

  • Interview by @ninakeh

Connect with NYX: Website | Instagram

Introducing the Trans Charter for the Music Industry

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The music industry has always been a space of expression, culture-shifting sound, and innovation—but it hasn’t always been safe or inclusive for everyone. That’s exactly what seasoned music professional and advocate Saskhia Menendez is setting out to change with the launch of the Trans Charter for the Music Industry.

With over a decade of experience under her belt, Saskhia is a multi-racial trans woman whose work spans podcasting, public speaking, DEI consultancy, and grassroots activism. You may know her as a 2023 Innovator at Keychange, a former board member at The F List Music, or the award-nominated host of the Music Industry Insights Worldwide podcast. She’s also been recognised by the Access All Areas Inclusion and Diversity Awards, and was inducted into the Roll of Honour Women in Music 2023. In short, she’s a powerhouse—and her latest initiative, the Trans Charter, is another vital step in her ongoing mission to make the industry safer and more equitable for all.

What is the Trans Charter?

The Trans Charter for the Music Industry 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. This isn’t just lip service—it’s a roadmap for building a more inclusive and affirming environment for trans and non-binary artists and professionals.

The Charter’s core pillars include:

  • Establishing trans-affirming policies and best practices.

  • Amplifying trans and non-binary voices through authentic representation.

  • Providing comprehensive educational resources and training.

  • Creating networks of support and collaboration for marginalised communities.

“It’s more than a document,” Saskhia explains. “It’s a call to action for the industry to step up and become a force for inclusivity.”

What inspired you to create the Trans Charter for the Music Industry?

The inspiration for creating the Trans Charter stems from years of witnessing the harsh realities that trans and non-binary individuals face in the music industry, ranging from exclusion and misrepresentation to unsafe working environments. As someone who's lived through these challenges, I felt a deep responsibility to take action. The Trans Charter is my response—a proactive solution that promotes accountability, creates safer spaces, and ensures that every trans and non-binary voice is heard, respected, and valued within the industry. This Charter is about building a future where inclusivity and respect are not just ideals, but everyday practices in the music world.

What are the biggest barriers trans and non-binary individuals currently face in the music industry, and how does the Charter address them?

Trans and non-binary individuals in music face multiple barriers, including a lack of representation, systemic bias, and environments that are often unsafe or unwelcoming. These issues are compounded by limited visibility in leadership roles, underrepresentation in key areas, and challenges with discriminatory practices. The Trans Charter directly addresses these obstacles by offering a clear framework for change, through policy development, advocacy, and the creation of inclusive spaces. It lays out actionable steps that promote diversity, representation, and systemic change. By filling these gaps, the Charter works to create an environment where trans and non-binary talent can thrive, be celebrated, and contribute meaningfully to the industry.

How can industry professionals, organizations, and allies support the Charter’s principles?

Supporting the principles of the Trans Charter is about more than just signing a document, it's about real, tangible action. Industry professionals, organizations, and allies must actively engage with the Charter's guidelines, foster inclusive practices, and continuously educate themselves on the challenges faced by trans and non-binary individuals. This can include amplifying trans voices, creating mentorship programs, and making intentional efforts to ensure that their spaces are safe and supportive. True allyship involves standing up against discrimination, advocating for equal opportunities, and helping shape an industry where everyone, regardless of gender identity, can succeed and be celebrated.

How can people reach out to you?

If you're interested in learning more, exploring partnership opportunities, or joining the movement to support trans and non-binary inclusivity in the music industry, please feel free to contact me at saskhia.menendez@gmail.com or connect with me on LinkedIn. Let's work together to build a music industry that truly values diversity and inclusivity.

Want to Be Part of the Change?

Saskhia and the growing community behind the Trans Charter are inviting industry professionals, allies, and organisations to sign up, show their support, and take the next step toward real change.

Sign the Charter HERE.

Connect with Saskhia Menendez

Email: saskhia.menendez@gmail.com
Instagram: @mizsaskia
LinkedIn: Saskhia Menendez

Midi KwaKwa: From Red Bull’s Best Newcomer to Signing with EMPIRE & Creating 'Moonflower'

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Midi KwaKwa draws listeners in with her soulful, emotionally rich music, effortlessly mixing Neo-Soul, Alternative R&B, and EDM. Inspired by artists like Lauryn Hill, Jill Scott, Amel Larrieux, and Sade, her sound is both reflective and fresh.

Born to Ghanaian parents and raised in North Rhine-Westphalia, Germany, Midi proudly embraces her African roots, expressing her heritage through music, visuals, and personal style. Her music videos—such as "Body," "Things Fall in Place," and her upcoming single "Energy"—highlight Ghana's natural beauty and vibrant culture.

Her artistry has garnered international attention. In 2019, Red Bull Music named her one of their 17 Best Newcomers. The following year, she won Best Performer at Berlin's Curl Con, sponsored by Beats by Dre. Her sold-out headline show at Rotterdam’s BIRD in 2021 further showcased her captivating stage presence. Now signed with EMPIRE, Midi continues to build momentum as an artist worth watching.

Midi KwaKwa’s forthcoming debut EP, "Moonflower” (out now). explores personal themes including mental health, resilience, confidence, and feminine sensuality. Drawing from intimate experiences, the EP captures the complexity of love and sadness through the eyes of a young Black woman embracing growth and self-discovery.

Moonflower symbolizes growth and transformation in the darkness. What inspired the essence of this project?

My personal journey has greatly shaped this project. Through my experiences, I've learned valuable lessons about mental health, overcoming difficult moments, longing for love, and gaining self-confidence. I've also embraced and celebrated femininity, understanding both its beauty and its challenges. My songs touch on love, sadness, sensuality, and empowerment, all from my viewpoint as a blossoming Black woman.

With Moonflower, I wanted to showcase my versatility as an R&B artist. R&B is incredibly diverse—it can range from soft, acoustic, soulful tracks like Holding Up, to edgy R&B like DiH, and even songs with a rock-inspired energy such as Let Me Be Your Vice, which channels that vibrant Lenny Kravitz feeling. I aimed to create an EP where listeners could find their own favorite song, something that truly resonates with them. And I'm proud to say I've accomplished exactly that.


Your music blends Neo-Soul, Alternative R&B, and EDM, while also drawing from your Ghanaian heritage. How would you describe your sound to someone who’s never heard it before?

Uhhh, this is a hard question.I make alternative R&B music with touches of neo-soul, jazz, and electronic elements. I especially love guitars, so you'll always hear them in my songs—whether it's distorted guitars, warm acoustic strings, soulful keys, or atmospheric synthesizers. I'm also a big fan of vocal harmonies and adlibs; playing with my voice to create dreamy, siren-like sounds is my favorite thing ever. I really just want listeners to feel deeply connected to me and my story as a person. My Ghanaian heritage doesn't directly influence my music style—I don't typically use Afrobeat or Afro-inspired sounds—but you'll definitely see its presence reflected visually. I'm a proud African woman, and even though my visuals aren't traditionally African in style, my identity shines through clearly.

Your journey has taken you from Red Bull’s Best Newcomer list to signing with EMPIRE. What’s the biggest lesson you’ve learned about navigating the industry as an independent artist?

Uhhh, I'm still learning, and this project has helped me grow so much. I'm naturally a people pleaser and very very emotional (cancer, scorpio, pisces), which can be tough in an industry that feels like a calm beach one day and a raging ocean the next. That’s why having people you truly trust is so important. But trust can be broken quickly, so the most valuable lesson I’ve learned is to trust myself. When you’re confident in who you are, no one can sell you a fairytale or take advantage of you. I’m still figuring this out and sometimes struggling with it, but I can already see my future self—she’s strong, sure of herself, and unshakable. And I’m really excited to become her.

Your lyrics explore deep emotions—mental health, love, resilience. How do you approach songwriting in a way that feels both personal and universal?

I take my diary with me to every session—so if I ever lose it, that would be a very sad day! 😄 A lot of my songs come straight from the pages of that little book. I turn my personal stories into music, or, depending on my relationship with the producer, we’ll start talking about life and build a story that we think people can relate to. My goal is always for listeners to take something from the song—to see themselves in it and connect with the emotions. Sometimes, I also write about my friends' experiences if something significant happens. When a story feels powerful enough, I think, Wow, people need to hear this, then I go home and write about it and create a song out of it.

What’s your best networking tip to connect with the right people in the industry?

I truly believe that having an open heart brings the right people into your life. Some of the most amazing connections I’ve made happened randomly—just by being open, having real conversations, and showing mutual respect for someone I just met. I always say, “Your vibe attracts your tribe.” In this industry, I’ve connected with people in so many different ways. When you’re positive and your art is strong, the right people will naturally be drawn to you. I’ve noticed that many operate with a transactional mindset, but I don’t think that’s the best way to move through the world. You don’t have to work with everyone just because they might help you reach a certain level. Connections should be intentional because everything is an exchange of energy. It’s important to be mindful of where yours goes.

What’s something artists should consider when deciding between staying independent or signing a deal?"

You have to know yourself. Don’t let anyone tell you what kind of artist you are or what they think you should be. Always trust your intuition first—and then back it up with facts.

One of the most important lessons I’ve learned is to gather all the information before signing anything. Take your time to read through every detail of a contract. When I signed my first deal, I blindly trusted the person managing me. Trust is important, but making sure you have all the information will save you from major headaches—like missing out on royalties that are rightfully yours or, in the worst case, losing ownership of your own songs.

That’s why I love being an independent artist. I have full control over my music, my art, and my decisions. Everything I receive from my distribution label is more like guidance or advice, but at the end of the day, I make the final call. Of course, it also comes with challenges—like figuring out funding and budgeting everything properly.

So whether it’s an independent deal or a label deal, the key is to always have all the relevant information before going into any conversation. That knowledge is your power.

In an industry that can be challenging, how do you protect your creative energy and stay grounded? 

If I’m being really honest, I’m still learning how to balance this. It’s tough, especially when I’m in the middle of promoting a project and constantly on my phone. But I try to take at least one day off from it when I can. Another thing that helps me is stepping away from music for a bit—just listening to frequencies, nature sounds, or white noise to give my brain a break from all the stimulation. Sometimes, I even put my headphones on without playing anything, just to sit in silence. It might sound strange to some, but silence can be really healing. I’ve come to appreciate those quiet moments more and more.

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

That’s a really good question. Honestly, I just had a little cry session like 15 minutes ago, lol. But at the end of the day, I love music. I feel so grateful to have been given the gift of a voice and storytelling. Music is my way of healing—not just for myself, but for others too. And performing? Feeling the energy of the crowd? That’s one of the best feelings in the world.

I love creating music, collaborating with other creatives, and even navigating this industry, despite all its complexities. But my least favorite part? It’s a lot of hard work, which is normal, but as an independent artist, there’s so much to juggle. Many of us just want to focus on making music, but now we also have to be social media experts, constantly creating content. It’s fun, but it can also be really draining at times.

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

Lipbalm/Lipgloss, Handcreme, and tissues 

What are you listening to at the moment?- 

Right now, I’m completely obsessed with Solange’sA Seat at the Table again. I finally got the vinyl, and I’ve been playing it nonstop. And Kelela’s unplugged album, In The Blue Light—oh my, it’s incredible. So vulnerable and elegant, it truly speaks to my soul and warms my body. I really hope I get to see her live soon!

Connect with Midi KwaKwa:

Instagram | Listen | MOONFLOWER

EB Rebel: From Law School to Becoming an Independent Artist

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Born in Dallas and now based in NYC, EB Rebel chose to leave behind a legal career to focus on music—a decision that’s shaped their journey as an independent artist.

Blending intensity with playfulness, EB Rebel’s music reflects their versatility as an artist. Their breakthrough came in 2015 with a Black Lives Matter anthem that later appeared in a BET documentary alongside Kendrick Lamar and J. Cole. Since then, they’ve gained recognition from outlets like Afropunk, BET, and MTV, racking up over half a million streams while staying true to their sound.

Their latest track, “Buenas Noches” is a high-energy release from their upcoming EP, Play At Your Own Risk, out this Friday (Mar 28).

In this Q&A, EB Rebel reflects on their journey, the realities of being an independent artist, and what ultimately led them to pursue music full-time.

You ditched law school to pursue music—was there a single moment that made you say, “Forget this, I’m all in” or was it a slow burn?

It was during the time I was applying to law schools that I realized my heart wasn’t completely in it, that I needed to follow my true passion. I did well on my LSAT, and had a good GPA, so I have no doubt that I would have been a good student. To a certain extent I was doing what made my family proud, a career that society as a whole respects. But that wouldn’t have made me happy, I would have always wondered “what if”.

Your music moves between intensity and playfulness—do you feel like you’re two different people when you write?

This is an interesting question, I’ve never really thought about this. I just go based on feeling, and the instrumentation. But I guess that is my duality as an artist. I tend to bounce between intense songs (rather high energy or political) to more chill music to vibe to. I think it’s important to have different vibes in your catalog, to reflect the human experience. I personally get a bit bored with artists who are one note, we need variety!

You landed on a BET documentary soundtrack alongside Kendrick Lamar and J. Cole. Be real—what was your first reaction when you found out? 

It wasn’t until the documentary aired that I knew they were also a part of it. Those guys are lyric geniuses that also use their music to make a statement, and are at a height I hope to be one day. So yeah, I was LIT lol. It was surreal to be in their company, especially Kendrick who has been a huge inspiration. The way he makes thought provoking music that has replay value is something I strive to do. 

As an artist, what’s one thing you’ve sacrificed that people don’t talk about enough?

Ugh… money lol. Especially as an independent artist, all of the finances fall on your shoulders. If you want to be competitive, you can’t necessarily go cheap, you have to get the best within your budget. I’ve been told that the quality of my music and visuals are on par with major label artists, and I think that’s the goal. With what I’ve spent on music I could definitely have a nice cushion or a downpayment on a house. But music is my baby and I want her to be the best that she can be. 

Describe your music in 3 words.

  • Daring

  • Innovative

  • Thought provoking 

If someone’s hearing EB Rebel for the first time, what’s the one song you’d introduce to them?

Going back to an earlier question about different vibes in my music, it would depend on your mood. The most popular would be TEXAS COWGIRL, an upbeat southern hip hop song inspired by Solange’s “When I Get Home” rollout. She had cowgirl attire on in the visuals, and paid homage to Texas cowboy/cowgirl culture. I thought she looked dope af and it got the wheels of inspiration going. 

A song that always makes me emotional, and that is very personal to me would be “Mama, I’m OK”. It’s about my mental health struggles, and also features my mom’s voice. I think that’s one of the songs that really highlights my writing ability. I was told by a music executive that it gives a folk/hip hop vibe, which is funny being that I named it after a Bob Dylan song. 

What are you listening to right now? 

I’ve been on a TDE wave lately. It just so happens that three of their artists (SZA, Doechi, Kendrick Lamar) have some of the best albums out right now.

Connect with Eb Rebel on Instagram | Website

Liaison Artists’ Mariesa Stevens & Emma Hoser Talk Coachella, Festival Bookings & Mentorship in Music

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For Women’s History Month, we’re highlighting two incredible women making an impact in the electronic music industry—Mariesa Stevens, Partner & VP at Liaison Artists, and Emma Hoser, Senior Agent at the agency.

With years of experience in artist bookings, festival placements, and mentorship, Mariesa and Emma have played key roles in shaping the careers of some of the most influential house and techno artists. But their work goes beyond talent representation—they are committed to supporting and mentoring the next generation of women in the music business.

In this Q&A for shesaid.so, they share their journeys, biggest career milestones, and advice for women looking to break into the industry. From overcoming industry challenges to securing major festival slots, their insights provide valuable lessons for anyone looking to grow in music.

Mariesa Stevens (Partner/VP), Liaison Artists

Mariesa Stevens serves as Partner and Vice President at Liaison Artists, a prestigious San Francisco-based booking agency. Since joining as the agency's 3rd employee in 2008, Mariesa has been instrumental in establishing Liaison Artists as the foremost destination for securing top-tier electronic music talent. Inspired by San Francisco's dynamic underground electronic scene, she acknowledges iconic SF figures and events for shaping her passion for music, including Mark Farina, Doc Martin, the Sunset Campout, the monthly [Kontrol] party at The EndUp, and the Dirtybird BBQ in Golden Gate Park.

Throughout her 16-year tenure, Mariesa has significantly influenced the agency's trajectory by meticulously curating a roster of exceptional, yet undiscovered, house and techno artists. Renowned for bridging the gap between US and European talents, Mariesa has introduced numerous artists, such as Maya Jane Coles, Maceo Plex, Bruno Pronsato, Sammy Dee, Hot Since 82, and Ash Lauryn, to audiences in North and South America. She has also played a pivotal role in expanding Liaison Artists' presence at the Coachella music festival, from securing the agency's first artist slot in 2013 to commanding 7% of the festival's entire roster in 2022.

As a black woman, Mariesa places utmost importance on representation, which constantly drives her endeavors within the agency. Recognizing the scarcity of black women in the electronic music scene, both as artists and agents, she remains committed to providing platforms for women, particularly women of color, to flourish in previously underrepresented spaces. Her greatest source of pride in her career stems from mentoring young women in the industry and witnessing their growing achievements.

What was your start in music, and what inspired you to pursue this path?

I was always a huge music nerd I would consume as much as I could.  It was big in my house.  My Dad had a huge record collection and we’d sit around and discuss and listen together.  Artists like Stevie Wonder, Earth Wind and Fire, Aretha Franklin and my Dad’s favorite artists The Temptations and Aretha Franklin really shaped me. 

On a visit to San Francisco in the early 2000’s with some friends they convinced me to go out to Club Mighty where Miguel Migs and Mark Farina were playing and I just fell in love immediately.  The sense of community on the dancefloor that night was something I’d never seen before. 

I was hooked and ended up moving to San Francisco  in 2008 and was working as an intern at a tiny start-up agency, but never felt like I fully belonged there.  I was a regular at the infamous KONTROL parties at The EndUp and made friends with their incredible DJ and resident, Nikola Baytala who went on to introduce me to Andrew Kelsey and the rest is history. 

Liaison Artists has had a big presence at festivals like Coachella. Could you share a couple of top tips on how artists can stand out and make an impact on such big stages?

As you can imagine a festival like Coachella is incredibly competitive and only so many slots.  As agents we’re pitching them all year long.  We use content like video clips of past performances and relevant press.  IN addition to that the artist will need a solid history of playing in the Los Angeles market often times will play a part in getting on Coachella.  

With social media and streaming being so important today, what advice do you give artists to stay authentic while building a strong connection with their fans online?

Authenticity is the key word here, I think that is something that fans can see immediately.  

I think giving fans a glimpse into your creative process, daily life, and the journey of your artistry. This transparency can help foster a deeper connection. 

I’d stick to what matters to you, as that will attract like-minded fans who resonate with your message. While it's important to showcase your music, sharing other interests and aspects of your life that reflect who you are and provide fans with more to connect with. It’s all about telling YOUR story. 

My biggest piece of advice is simply to stay true to your values and  don’t compromise your beliefs or artistic vision to fit trends.

Looking back at your career, what are some of the moments you’re most proud of?

There have been so many moments over the years but some that come to mind, booking my first artist on Coachella, selling out my first tour, 

I think the thing I am most proud of is helping to mentor our young staff many of whom started as interns / assistants and are now incredibly successful and hard working agents. 

Playing a part in helping them build their careers is just as rewarding as what we do for our artists 

What am I listening to these days? 

My taste is all over the place and I tend to have 10 or so artists that never leave my rotation like Erykah Badu, Frank Ocean,  Portishead, Aaliyah,  DMX, Mariah.

Wizkid’s Made in Lagos has been a constant as well.

Love what a lot of the rap girlies are doing at the moment Flo, Doechii, Megan and GloRilla - way too many to list!

Emma Hoser

Emma Hoser is a senior agent at Liaison Artists, representing a diverse roster of electronic DJs and producers with a heavy focus on the underground house and techno sound. Emma’s roster includes clients Adam Beyer, CirezD, Eli & Fur, Nicole Moudaber, Paco Osuna, Pawsa, Sasha, and many more. Emma volunteers as a mentor for young adults at local organizations including the Lower East Side Girls Club and The LGBTQI+ Center in NY.

Emma began her journey in music as a club promoter in Florida during college. She later moved to San Francisco to finish her degree, and continued pursuing her love for music by selling mixtapes to stores all over the USA. Through these endeavors she met many DJs, promoters, and agents.

Upon finishing college she moved to New York to start working in the agency business. After stints at several different agencies, she found her home in 2008 working for Paul Morris at AM Only. AM Only partnered with Paradigm in 2012 and fully merged into Paradigm in 2017. In 2020, she started at Liaison Artists, the best independent agency in the US and who specialize in cutting edge international talent with a laser focused personalized touch.


What was your start in music, and what inspired you to pursue this path?

I fell in love with electronic dance music and the DJ culture during my college years in Gainesville, Florida. There’s this incredible club there called Simon’s that hosted some of the biggest names in the industry, like Sasha, John Digweed & Laurent Garnier. I knew I wanted to pursue a career in music, but I wasn’t sure what path to take. So, I decided to throw a few parties to see if that was something I genuinely enjoyed.

After finishing my first two years of college in Florida, I moved to San Francisco to complete my remaining studies. There, I worked for a couple of DJs, helping them sell their mix tapes across the United States. These experiences exposed me to a diverse network of DJs, promoters, and agents, which ultimately led me to an exciting opportunity.

I was offered a summer job at an agency in New York City. After the summer, I finished my studies and relocated to the Big Apple to join the agency full-time. From that moment on, I knew that this was the career I wanted to pursue. 

Emma, you’re also involved in mentoring young adults. What advice would you give to young women hoping to enter the music business?

Breaking into the music industry as a woman can be challenging, but with persistence, self-belief, and the right strategies, you can carve out a fulfilling career. It involves continuous learning, networking, advocating for yourself, and uplifting other women. Be prepared for criticism and setbacks, but don’t let them derail your confidence or your goals.

The music industry can be tough, with challenges and rejections being a part of the journey. The key is to learn from these experiences and use them as fuel for your growth. Focus on your abilities and be ready to listen and learn, but also don’t hesitate to speak up.

Embrace failure as a stepping stone to success. The most successful individuals learn from their mistakes and use them as catalysts for future success. Building strong, authentic relationships with artists, managers, promoters, and your co-workers is a powerful way to gain respect. Learning to assert yourself in meetings, take initiative, and ensure your voice is heard, and over time that earns you trust and credibility in the industry.

What have been some of the challenges you’ve both faced as women in the industry?

Like many women in the music industry, I’ve personally witnessed how male dominance can sometimes pose challenges, such as being underestimated, overlooked, or having to prove myself more than my male counterparts. Despite the challenges of navigating a business where women are underrepresented, I’ve consistently found that staying true to myself, maintaining resilience, and collaborating with like-minded individuals, including artists, managers, and my company’s representatives, is imperative for success. 

Looking back at your careers, what are some of the moments you’re most proud of?

I absolutely thrive on the success of my artists, especially when I start from the very beginning with them and witness their growth from performing at small venues to selling out big venues and headlining festivals. However, what fills me with the greatest pride in my career is mentoring young individuals, whether it’s in educational settings,

LGBTQ+ centers, or the Lower Eastside Girls Club. I take great pleasure in providing advice to other women in the music industry and the people I work with.

I enjoy helping them navigate the next steps in their careers and guiding them through the intricacies of the business. My passion lies in elevating young women from the early stages of their music careers to becoming successful agents!

Connect with Mariesa Stevens & Emma Hosser | Liaison Artists

Empara Mi: From Film & TV Scores to New Album Monsters & Masochists

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With a sound that defies convention, Empara Mi has carved out a unique space in music, blending cinematic grandeur with raw, emotional depth.

Her debut album, Suitcase Full of Sins, became an underground sensation during the pandemic, amassing over 30 million streams and landing tracks like Blood in the Water and Ditch in hit series such as Ginny & Georgia and Behind Her Eyes.

Her music has since reached global audiences, featuring in major productions like Transformers, Fortnite, Riviera, and Dynasty, as well as high-profile campaigns for Apple. In 2024, she lent her hauntingly ethereal vocals to Our Planet II and Mammals, working alongside Coldplay, and earned critical acclaim for her striking rendition of God’s Gonna Cut You Down for Day of the Jackal.

Empara Mi is set to release her most bold and vulnerable project yet—her album Monsters & Masochists. Described by Clash Magazine as having a “devastating sense of soul,” she continues to evolve as an artist, recently collaborating with Wilkinson and Sub Focus on their No. 1 album Portals. With this new record, she steps deeper into her own artistry, unfiltered and unapologetic.

You’ve had music featured in everything from Transformers to Ginny & Georgia. Do you approach writing differently when thinking about cinematic storytelling?

For me, every song I write feels like a movie as I'm always trying to recreate a scene from my own life in some way. I then imagine that moment if it belonged to my favorite film and then write what I think the soundtrack to that moment would sound like. I’m guessing that's why I've been lucky enough to be on as many shows as I have, as I've already started to build the world. Saying that, i don’t necessarily write with my project with the idea that it will end up somewhere fabulous as i know already it tends to be the songs you expect the least that do end up making it onto these amazing shows, so it's a good self reminder to go with your gut and not try to please anyone. 

 Of course when I'm writing/producing specifically for something like ‘Fortnite’ like I did last year, you are writing something that specifically works for the project so it's a different experience but again it's fun because you get to play another character and challenge yourself in a completely different way!

Your music is deeply emotional and immersive. What’s your creative process like—do you start with a lyric, a melody, or a visual idea?

The chords/ production always come first, that sets the scene for me. I would never usually start something with the intention of provoking a feeling that I wasn't already feeling. I let my mood in that moment take me where it wants to go, that's probably why I have so many different genres on this record. It would be harder for me to pretend I'm sad or happy or angry all the time. I can be one person one day and equally a completely different person the next, true gemini energy. Once I've gotten the vibe down then I love to do a little freestyle to see what comes out, I let my gut tell the story then I go in to refine it. More than not, i’ll end up loving the first thing i’ve come up with as my instinct knows better than my conscious. 

Monsters & Masochists sounds like it’s going to be your boldest work yet. What does your new album Monsters & Masochists say about who you are now as an artist?

I think it shows how much I've grown up. This project has taught me that I can do so much more than I knew I could. This is the first album I've written independently which has entirely changed the way I've approached it. When I first became independent, it felt like I was drifting alone into the abyss, but when you accept that no one’s coming to throw you a rope, you learn to swim pretty quickly. I feel alot stronger and evolved as an artist and musically I think there's a lot of honesty in this project because I feel like I have no one to please, which is a really freeing thing, so I've experimented with sounds, genres and said everything I wished I'd said before without fear of judgement. It feels good.


What’s your advice for artists struggling to find their own sound in an industry that often prioritizes commercial formulas?

First of all, don’t worry about the industry, it's an illusion. I think it's very easy to focus on impressing people who may or may not want to help you at some point, the only thing to focus on is yourself, your music and how to build an audience that will come along on the journey with you. When you create something that you love yourself, people will feel that. There's no point in standing behind something you don’t believe in. I also feel that what's considered commercial has shifted so much that there's no point chasing something that might be gone by the time you’ve tried to imitate it.

Was there ever a moment where you doubted yourself or your artistry, and if so, how did you push through it?

Yes, everyday haha. I go through extreme waves of self doubt, then self assurance, then self doubt on a daily. It's something I'm very used to, I'm sure a lot of other creatives feel the same.

I think it's mostly when doing things independently it feels like you are always taking a risk with every decision, every penny spent, you will never know if it will pay off so there's self doubt surrounding that.

My way of pushing through it is putting on my headphones and listening to my favourite song i’ve ever written on full blast and then i go, ‘yep, thats why im doing this’. 

What’s one thing you hope people take away from your music—not just with this album, but with everything you create? 

I just hope they feel something. I write to escape a lot of the time so I like to think that people are listening for the same reason I'm writing and that the music can be a safe space for people to explore different parts of themselves and play along with the characters i’ve created. If people can feel 1% of what i feel when i’m writing, then i’ll be happy.

How would you describe your sound to someone who has never heard it before?

If i was to describe it in general i would say dark, cinematic, pop, however there's so much to come that goes beyond that now,  i’ve dipped into a lot of genres on this new project, even more so than before. There's a lot more indie rock, nostalgic, electronic influences coming that I'm excited about, and even a happy song that I didn't know would ever come out of me but here we are, growth!

Follow Empara Mi on Instagram | Website

Olivia Shalhoup: From Assistant to CEO, Helping Artists to Grow

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As an early believer in the power of social media for artists, Olivia Shalhoup is the Founder and CEO of Amethyst Collab, one of the music industry's most cutting edge social media marketing agencies. There, she has led digital marketing and PR campaigns for chart-topping artists such as Ashanti, Trippie Redd, DaniLeigh, and more, as well as working alongside label clients Interscope, Universal Music Group, Def Jam Recordings, Warner Music, Sony Music, 300 Ent, and others.

Going from assistant to renowned CEO in just 2 years, Olivia began her journey in music as a concerts assistant at ICM Partners in Los Angeles. After experiencing the corporate world of music, Olivia decided to create a company that challenged the norms of how business and rising through the ranks of the music industry occurred. Since, Olivia has been an outspoken advocate of entrepreneurship in the music industry, especially for young women.

How did you get your start in music?

I began interning at Carpark Records in Washington DC. I cold emailed the founder and offered to intern, met them for an interview, and a few weeks later I was part of the team. I really enjoyed working with Carpark, it definitely sparked my love of the music industry and my appreciation for independent record labels. 

Describe a day in your life as the founder of Amethyst Collab.

A lot of computer time! Ha. It’s a lot less fancy shoot days and a lot more time spent emailing, editing, and scouring the internet. The less glamorous side is what leads to results though. 

Not every artist has a big budget for marketing. What are some of the most effective ways independent artists can grow their audience online without a big budget?

Social media is the best resource we have - and it just so happens to be free! Consistency will get you far. 

What advice would you give to young professionals who want to start their own business in music?

Make sure you’re as excited and prepared for the business side of things as you are for the music side.

There will be days when you’ll have to chase down payments from big record labels while fronting your employees the money out of your own pocket. There are countless uncomfortable conversations that you’ll need to have on a daily basis.

Entrepreneurship is highly glamorized without acknowledging all the hardships we face. If you’re doing this because you don’t want a 9-5, you’re going to hate a 24/7. 

A lot of artists blow up on TikTok but struggle to turn that into long-term success. What do you think makes the difference between a viral moment and a sustainable music career?

The ability to create great music, first and foremost. Your marketing can only take you as far as your music goes. 

Running a company in such a fast-moving industry must come with a lot of challenges. What’s been the hardest part of growing Amethyst Collab?

That’s hard to say, because I truly enjoy every aspect of running Amethyst Collab. Probably attempting to have a personal life balance, lol. 

Tips for anyone who wants to get into your industry

Be overly passionate! Be a little crazy! Use too many exclamation points! Pitch that big idea! 

3 things you can’t live without in your bag 

  1. Ami Cole lip gloss

  2. A portable phone battery, as every social media professional knows 

  3. Sunglasses that double as prescription glasses, cause sometimes a girl’s gotta see  

What are you listening to right now?

Bad Bunny’s DTmF album on repeat, my favorite songs right now are WELTiTA and VeLDÁ but they tend to change every week. 

Connect with Olivia Shalhoup on Instagram | Amethyst Collab

International Women's Day 2025

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In celebration of Women’s History Month and International Women’s Day 2025, shesaid.so is featuring a curated selection of artists and music industry executives who have made a significant impact on our community and the music industry.

Alba Blasi

Alba Blasi is the co-founder of Doble Cuerpo, a management and artistic development agency she runs alongside Borja Rosal. Doble Cuerpo represents Bad Gyal, Ouineta, L'Beel and Ikram Bouloum.

Since 2014, Alba Blasi has developed various artistic careers through communication and management. In parallel, she has also organized several parties in Barcelona, such as "Nueva Época" by Canada and "Club Marabú", where, in addition to being a co-founder, she coordinated programming and led communications.

Her connection to the music world runs deep. Since 2004, she has been the keyboardist for the Barcelona-based band Extraperlo, and she also co-created two former musical projects, Albaialeix and Granit.

What piece of advice has kept you going during challenging times in your career?

Alba Blasi: The advice that has allowed me to survive in this industry is "make things happen."

When we work with artists, whether emerging or more established, there are always challenges, obviously of different scales, but there are always objectives and goals. This creates a constant pressure to make things happen and to do so in the best possible way. Sometimes we are too demanding and think that if things don’t happen perfectly, we’ve failed, but that’s not true... making things happen, most of the time, is already a success in itself.

Ideally, we always work toward excellence, but sometimes just getting something to happen is a goal achieved. Make things happen, try to make them happen in the best possible way, but if they're not perfect, as long as you make them happen, you’ve succeeded. In the end, the small victories help you learn, build confidence and enable you to take on bigger challenges.

What is the most valuable lesson you've learned as a woman working in music?

Alba Blasi: One of the most important lessons I’ve learned as a woman working in the music industry is to be honest and always work from a place of honesty with all the parties that make up your ecosystem when working with an artist or specific project. This has also led me to spot many things and learn to collaborate with people I consider to be the most suitable for the job. In an industry often filled with ambition, egos, and few scruples, I believe that honesty can take you further than many people think.

Connect with Alba Blasi on LinkedIn & Instagram

Doble Cuerpo on LinkedIn & Instagram

BISHI

An artist, composer, producer, performer, technologist and broadcaster, BISHI has released three albums and several EP’s via her label Gryphon Records, as well as collaborating with the likes of Tony Visconti, Sean Ono Lennon, Jarvis Cocker, Daphne Guinness, The London Symphony Orchestra, The Kronos Quartet, fashion designer Manish Arora and as a soloist on Jonny Greenwood’s ‘Water, ’ with City of London Sinfonia, who have also performed her orchestral music.

BISHI composed and produced her first full original score for, ‘Maya, The Birth of a Superhero, ’ s VR experience shortlisted at Cannes 2024. Her first score for TV, Defiance: Fighting the Far Right, ’ aired on Channel 4 in 2024. She was part of a team developing an AI composer tool with the University of Sheffield and has created a voice model with Neutone AI.

BISHI’s music AV installation ‘Reflektions, ’ was commissioned for Coventry City of Culture and was exhibited at Body and Soul Festival, Ireland and Mack Sennett Studios, LA. BISHI was the first ever artist to have her work projected onto Greenwich UNESCO World Heritage Site.

BISHI is the founder of WITCiH (Women in Tech Creative Industries Hub), a platform elevating women, trans and non-binary creative practitioners in tech. Bishi is on the board of directors for Featured Artists Coalition and The F-List for Music.

What's one piece of advice you'd give to someone just entering the music industry?

BISHI: Focus on your creative values and the slow discipline of music and creativity. We live ina fast pace reality where we are being constantly distracted by every shifting demandingtechnologies and the pressure to go viral or shout above the noise. I believe that themusic making and creativity itself is the seed by which everythinggrowsand the saviourin a dark storm.

What has been your proudest moment in your career so far?

BISHI: Composing and producing the original score for ‘Defiance Fighting the Far Right,’ a documentary series which aired on Channel 4 2024. It was the first series I composed and produced the original score for, as well as the opening and credits music. I feel I can do anything now. Watching the preview screening st BAFTA was a dream come true. I felt like I’d landed.

BISHI’s Website | Instagram

Dalia Ganz

Dalia Ganz works at Warner Records as Senior Vice President of Digital Marketing. In her new post, Ganz works closely with the company’s various departments as well as its streaming partners to create and implement compelling, fan-centric online experiences and campaigns for the label’s wide-ranging artist roster at the label’s LA headquarters.

Having spent the entirety of her career with The Walt Disney company, Ganz worked her way from Marketing Assistant to her latest role as Vice President. During her time with Disney’s Freeform, Ganz oversaw all social media initiatives for the network, as well as leading synergy and partnership marketing with internal and external companies. Ganz played an instrumental role in driving the social media strategy for Freeform, including the development of several innovative campaigns that resulted in record-breaking levels of social conversation and industry awards.

Ganz spearheaded the award-winning Pretty Little Liars social media campaign and created buzzworthy campaigns for series and network tentpole events, including 25 Days of Christmas, Shadowhunters, The Bold Type, grown-ish, and Cruel Summer.

What has been your proudest moment in your career so far?

Dalia Ganz: After working at Disney in Television for my whole career, I followed my passion and switched to music! I absolutely love my job (and the Warner Records fam) so clearly taking a huge career risk paid off. 

Nada Alhelabi

Nada Alhelabi is the Strategy Director at MDLBEAST and the Director of Programming at XP Music Futures. Music fuels her movement; traveling the world to understand the power of music and its impact on people. She is driven by the belief that music can improve wellbeing and create a culture of inclusivity – from festivals to sound baths, and everywhere in between.

At MDLBEAST, she's merging her passion for music and background in consultancy in Saudi and the region to help achieve the company's overarching goals and vision.

What is the most valuable lesson you've learned as a woman working in music?

Nada Alhelabi: One of the most valuable lessons I’ve learned working in the music industry is that it’s deeply people-focused—human connections truly matter. Building relationships, being present, and engaging with others can open doors in ways you wouldn’t expect.

As a woman from the MENA region, I’ve encountered misconceptions, but I’ve also learned that putting yourself out there, meeting people, and creating genuine connections can break barriers.

At the end of the day, music is a universal language, and the industry is filled with people open to listening, learning, and collaborating. Authenticity and persistence go a long way.

What's one piece of advice you'd give to someone just entering the music industry?

Nada Alhelabi: One piece of advice I’d give to someone entering the music industry is to embrace every experience—because music is woven into our daily lives, both passively and intentionally. Whether you're on vacation, exploring a new city, stumbling upon a street festival, discovering artists on Spotify, or even just meeting new people at a club, every moment shapes your understanding of the industry. Never underestimate the value of these experiences; they give you insight into different scenes, audiences, and cultures. The music industry thrives on passion, and every specialty has a place in it. Stay curious, stay engaged, and let your experiences guide your journey..

Connect with Nada Alhelab on LinkedIn & Instagram

MDLBEAST Foundation | XP Music Futures

Yewi Omo

Yewi Omo is a music marketing specialist working across PR and brand partnerships at an international scale. Known for exporting indigenous sounds and taking them to a global stage, Yewi has worked with brands such as Red Bull, Afronation and Yam Carnival Festival, Live Nation and Warner Music.

Yewi has developed her expertise by running multi-channel marketing campaigns over eight years working with artists like Jammz, Jkaz, and international tastemakers like M.anifest (Ghana) and Odunsi (Nigeria). In late 2019, Yewi took three UK artists to Atlanta's A3C festival to showcase UK talent. Yewi is on the London team for women in music network shesaid.so.

What is the most valuable lesson you've learned as a woman/person working in music?

Yewi Omo: I've learned to always remain a student of my craft, continuously growing and evolving. Additionally, I've come to understand that building a strong network is not just about connecting with peers and mentors, but also about nurturing relationships within your entire community.

What's one piece of advice you'd give to someone just entering the music industry?

Yewi Omo: Never hesitate to ask questions – no question is too small. The more you ask, the more you learn, and the more you learn, the more you'll grow.

What piece of advice has kept you going during challenging times in your career?

Yewi Omo: The advice that has always driven me forward is this: sometimes, it's better to push through the door rather than wait for an invitation to enter.

Connect with Yewi Omo

Website | Instagram | LinkedIn

Artist & Global Copyright Coordinator at Sony Lucki Price on Breaking Into the Industry & Thriving in Nashville

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Lucki Price is a business-savvy singer-songwriter with a degree in music business and a passion for R&B music. She currently serves as a Global Copyright Coordinator for Sony Music Publishing in Nashville, Tennessee, where she leverages her expertise to protect and manage intellectual property rights. Prior to this role, Lucki gained valuable experience as a Metadata Temp at Capital Music Group.

With an enthusiastic commitment to the music industry, Lucki's long-term goals are both ambitious and inspiring. She aims to establish a writers catalog of groundbreaking songs, own and operate a successful R&B-focused music company in Nashville, and create a pipeline for brown and Black students from MNPS to enter Nashville's music industry.

Recently, Lucki participated in a songwriting workshop hosted by ASCAP. Out of many applicants, nine participants were selected and divided into groups of three, each guided by a mentor. Each group consisted of two songwriters and one producer, working together to create the best song possible and Lucki’s group.

Lucky Price's new single Never Mind, released on February 7th, captures the fleeting excitement of a casual relationship, embracing the fun while acknowledging its inevitable end.

What was it like landing your first role at Capital Music Group? Any tips for finding that first job in music?

Landing my first role at Capitol Music Group was a long but rewarding process. During my spring semester of college, I worked as a Sync agent intern at a small label called The Upstate Sound. In this role, I reached out to at least fifty people per week via emails and cold calling, networked via online and in person seminars and meetings, and managed the company’s sync catalog and operations.

Through this role I was able to obtain various transferable skills like data entry, metadata administration, relationship and catalog management, etc. I also attended seminars that the career office offered so much that a career counselor in my college forwarded my resume to the hiring manager before the job was posted. Once the role was posted, I applied and had an interview a month after. I didn’t actually secure the role until November. So I worked at a call center for about four months until I received my offer letter and began remote training. 

For anyone looking to break into the music industry, my biggest advice is to take every opportunity to network—both online and in person. Never underestimate the value of your current skill set. Understand how they align with a company’s needs, and be prepared to articulate that confidently.

Can you share a bit about what you do day-to-day as a Global Copyright Coordinator at Sony? What skills do you use the most?

As a Global Copyright Coordinator at Sony Music Publishing, my day-to-day work revolves around ensuring accurate entry and maintenance of international client and song data across Sony and EMI affiliates. I work closely with registration processes, protocols, and timelines, ensuring that all metadata is up-to-date and correctly documented within our systems.

A significant part of my role involves using Atlassian JIRA to receive, track, and process song deliveries, adding necessary details and commentary for accuracy. I also assist with special projects, including large catalog deliveries, mass data amendments, and high-volume song registrations. The skills I use the most include attention to detail, as accuracy in data entry is crucial, and organization, since I manage large amounts of information across multiple systems. Additionally, problem-solving comes into play when reconciling reports or ensuring that data aligns correctly across international territories.

Can you share the inspiration behind your new single Never Mine (Never Mind)?

Unlike my last single, Pretty Lies, my newest release is not about my high school sweetheart. Never Mine (Never Mind) was inspired by a brief situationship that was bound to end as quickly as it began. A woman's intuition never lies—I knew from the first time we met that he could possibly break my heart, but at least he wouldn’t be a snooze. Despite my initial gut feelings, I started casually dating He Who Shall Not Be Named, and I had the time of my life. I even pondered, for about three seconds, whether he was one of my long-lost soulmates. But as much as we loved each other, the reality remained: in this lifetime, he simply could never be mine. That didn’t mean we couldn’t enjoy the moment and experience a vibe.

At the end of December, I started writing a new song to a track produced by Atlanta-based producer Shaun Marius Moore. Fun fact: I met Shaun in Atlanta after a GrammyU Unwrapped session with Offset, Jrich, Southside, and SheShe. I was determined to network with someone, so I stuck around in my friend’s black platform boots—one size too small for me—waiting for a chance to speak with Jrich. While waiting, I struck up conversations with others in the room, and that’s how I met the primary producer of my favorite record yet!

When I started writing this song, I knew I didn’t want to focus on this particular ex, and I definitely didn’t want to write about heartbreak. I initially wrote just the first verse, the hook, and a pre-hook (which later became the outro). Sometime after, I sang what I had for my mom and Shaun. They both loved it—even more than the two other songs I had been working on before Never Mine (Never Mind). With that feedback, Shaun and I locked in a plan to record, mix, master, and release the song through DistroKid by a set deadline—and we did.

On January 3rd, I went to my engineer, Jackson Baadgley, with my vocal producer, Lwan Easton, and recorded most of the song in just four hours. The next day, I spent five hours in the studio refining the vocal production and delivery. Jackson mixed the track, and Edsel Holden mastered it within a week. Since I was working on a tight schedule, I was also on an even tighter budget—so my friend, Gifted Queen, used a three-year-old picture to create the cover art for me.

What's the music scene like in Nashville right now?

When it comes to music, Nashville is known for its amazing studios, live entertainment, country music, and Fisk Jubilee Singers. From Broadway to Murfreesboro, shows are happening daily. Music Row is vibrant with major and indie labels and publishing companies, PROs, studios, radio stations, and now apartments.

There are a ton of music industry organizations to join, music conferences to attend, and music events to expand your knowledge and presence in Nashville. These things provide opportunities to network and stay actively involved in the music industry. Nashville is a big city but it's pretty small, so somebody may know somebody else that could be just the connection you need.

Most songs that achieve mainstream commercial success from Nashville are country songs. What some don’t know is Nashville has a growing and thriving independent Hip Hop and RnB music.

How did you first start building connections in the music industry? What advice would you give to someone just starting out?

I started networking in the music industry in high school by taking advantage of every opportunity that came my way. One of my first music industry experiences was a short internship in Warner Music Nashville’s Digital Marketing Department for two summers. This internship gave me hands-on experience in graphic design, one on one questionnaires with department heads, and connections that I’ve nurtured for the past nine years.

In undergrad, I expanded my network by engaging with on campus and local music organizations, setting up coffee meetings and virtual calls, attending industry events and seminars, reaching out to professionals on LinkedIn, and showing up to live shows. Each of these experiences helped me build genuine relationships and gain valuable insight into different roles and areas of the industry.

For anyone just starting out, my advice is simple: Take initiative and be intentional. Say yes to opportunities, even if they seem small. Follow up with people you meet, and don’t be afraid to reach out to industry professionals. Most importantly, be consistent. Networking isn’t just about meeting people; it’s about nurturing relationships over time.

3 essential things you always carry with you in your bag

Three things that I keep in my bag are chapstick or lip gloss, hand sanitizer, and a charger. I will always have those things.

Connect with Lucki Price on LinkedIn & Instagram

Gayance on Her New Project & Signing to Tru Thoughts

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Gayance at Boiler Room 2023 | Photo credit: Stef van Oosterhout

Gayance is a Montreal-born Haitian-Canadian DJ, producer, and filmmaker whose sound moves between Soul, Hip Hop, Downtempo, House, Broken Beat, and Haitian rhythms. She’s been DJing for over a decade, playing festivals and clubs around the world, known for her high-energy sets and deep musical knowledge.

Her debut album Mascarade (2023), released on Rhythm Section International, was shortlisted for the Polaris Music Prize, and she’s also made a name for herself in film, with Mascarade: Origin Story (2023) screening at festivals like Cannes and São Paulo.

Gayance recently signed to Tru Thoughts, marking the next step in her journey.

You’ve just signed to Tru Thoughts for your upcoming project. What can we expect from this new chapter, and how is the mini 7 tracks LP evolving?

I made a seven-track project with collaborators like Judith Little D.—who was also on Moon Rising—rapper Narcy, producer Jarreau Vandal, as well as Magi Merlin and many others. I love collaborating with artists from Montreal, but also from Brazil, like Dal Bô.

This project is about traveling as a political act. It’s about searching for yourself in chaos, finding yourself when you have no points of attachment. I’d say all my projects are personal, but this one feels even more personal because it reflects what I’m going through right now. I’m really happy to release it with Tru Thoughts.

For this project, the music is eclectic—I like to blend different genres. It’s going to go from Haitian carnival rhythms to drum and bass with Arabic influences, to Timbaland-style beats. Why not? It’s meant to be an immersive journey through sound and storytelling.

Your rework of Dubmatique’s 'Soul Pleureur' is also coming in 2025. What was the significance of taking on that track, and how did you approach it sonically?

I worked on an official remix of Soul Pleureur by Dubmatique—an iconic rap group from my city, Montreal. They released this song in '97, so it’s been almost 25 years since it came out. They asked me to do an official remix, and I was inspired because this song was playing in my hood a lot.

My uncles, JC and Pat, were club promoters back in the '90s, and I grew up hearing stories from them and older DJs about this legendary club on Sainte-Catherine and Bleury in Montreal called Sauna. It was an iconic spot with different rooms and a unique vibe. Unfortunately, I was too young to experience it myself, but those stories shaped my vision for the remix.

The original track is hip-hop, but I reimagined it with a late '90s lo-fi house flavor. I wanted people to feel like they’re in Montreal on a cold November night—when you step outside and see the fumes in the air, everyone dressed in black, girls in short skirts even though it’s minus 10 outside. But inside, it’s warm, it’s soulful. A big part of that is the voice of Barnev, who sings on the track. To me, Béné is one of the greatest R&B singers. He was also a backup singer for Céline Dion, which makes this feel like a full-circle moment for me.

What’s one piece of advice you wish someone had given you earlier in your career that up-and-coming artists should hear right now?

I would tell myself to start producing a bit early. I was in a super collective with Grammy-winning producers and influential Canadian producers from my city. I was too insecure in my own capacities to become the full person I am right now. In the early 20s, we want to please people while thinking we're so grown that we don't fully bloom.

What’s inspiring you right now?

I would say mostly nature and stillness. I just moved to Lisbon, and the calmness and the common people living their lives inspire me. I moved to the suburban area (Almada), and the vibes feel like where I grew up in Montreal-Nord. It's very grounding. I'm reading "Assembling a Black Counter Culture" by DeForrest Brown, Jr. and it's very inspiring as well.

What are you listening to at the moment?

I'm listening to a lot of love songs; I'm in love. I've been singing the most cheesy songs like ''I Belong to You" by Lenny Kravitz. I do listen to a lot of Eddie Hazel and 2000 raps when I work out. 

What’s been a top strategy to learn in evolving as an artist? 

To always stay consistent, even if it's so hard. I'm mainly being consistent with my health and my spirituality and I know the rest will follow. 

What makes a creative partnership work for you?

It's mainly transparency, honesty, mutual respect and deep listening. Most of my projects are collaborations from my music to my films and it's the key. 

What’s your favorite/least favorite thing about touring?

Contrary to the general artist, I love touring. I've developed a system to keep my body in flow with it. I always do yoga before and after a plane or train ride. I do stretch behind the booth or the stage; it makes the energy flow, and it's good for the show people see me stretch, and they know it's about to go down. I have been a dancer (classical, tap, contemporary, Hip Hop) for almost 2 decades. I still want this special connection with my body and the music. The least favourite thing about touring is that I'm mostly alone, and I wish I played with my band or I had a friend coming with me. 

When you're doing what you love, how do you feel inside?

I feel aligned with my destiny. I'm a Leo rising and I have a Sagittarius stellium in the 5th house. For those who love astrology, it means, I was born for the stage and to create and have fun.

As an artist deeply influenced by the LA beat scene and West London’s bruk movement, what do you think makes those sounds so timeless and adaptable across generations?

I think it's the reference they take from. Mainly from jazz fusion, Latin jazz blended with syncopated drums. This genre uses synths in the timeless era of the 70s. It's not only music for dancers but also for the everyday journeys; it's like a best friend that makes you a healing herbal mix through hardship. 

Connect with Gayance | Tru Thoughts

Applying for the True Music Fund? Get Inspired by 2023 Winners Feminine Hi-FI!

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Feminine Hi-Fi, founded in 2016, is led by DJ Dani Pimenta and singer/MC Laylah Arruda.

In their show, the duo takes a deep dive into the connections between reggae/dub and the unique sound of Brazilian bass culture. The result is a musical selection full of energy and originality, with classics and novelties, and flavored by releases from the Feminine Hi-Fi Records label.

In 2023, they were the only Latin American project selected by Ballantine's UK True Music Fund programm

The collective carries out affirmative actions to strengthen the female presence in music, producing face-to-face and virtual events with artists from all over the world. Since 2022, it has organised the Feminine Hi-Fi Festival, a festival dedicated to dub and sound system culture that has brought together dozens of Brazilian and international artists. They are part of the Directorio de Agrupaciones de Mujeres y/o Personas LGTBIQ+, led by BIME, Femnoise and Sorority Lab.

In 2022, they won the Equal Seal by WME, an initiative of the Women's Music Event award aimed at projects that value diversity and inclusion. They are part of Sonic Street Technologies, a Goldsmiths University of London project aimed at researching and valorising sound system culture around the world.

Over the years, the project has been present at the main festivals, parties and concert halls in Brazil and Europe. They have toured internationally five times, in countries such as France, Germany, England, Italy, Switzerland, Belgium, Spain and Ireland.  

Read more about how the True Music Fund supported them—maybe your project could be next!

How did receiving the True Music Fund support your project or career?

For us, being able to count on mentoring and all the guiding dialogues for the project was very relevant and satisfying. We had the opportunity to present the particularities of our country, Brazil, our city, São Paulo, as well as the music scene we are part of, and we had guidance that took this into consideration. I think the main thing was the security we felt with this path and the lessons we could take with us to continue Feminine Hi-Fi's activities.

What would you say to artists thinking about applying for the fund?

We were able to achieve something great, move our community, amplify our existence and ideologies.
And especially speaking of our country, so culturally known worldwide, but which suffers from the lack of public and private investment in culture. It was even a source of pride for us to have been selected here in Latin America, in Brazil.

Check out our FAQ for answers to key questions, including:

- Who can apply?

- How much funding can I request?

- How are applications selected?

Head to the full FAQ here 👇

https://www.shesaid.so/true-music-fund

** For additional questions, contact hello@shesaid.so

Vicky Eacott: Building a Career in Independent Music

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Vicky Eacott runs Hit Reset, a project management, label management and marketing services company that works with independent artists and music companies. Vicky has over 15 years experience working in independent music in both artist management and label roles. She started her career at the internationally-renowned independent label Wichita Recordings, where she gained experience across all aspects of the day-to-day running of a label and managed release campaigns. Alongside her role at the label, she also worked for the artist management arm of the company, Wichita Management.

During her time at Wichita, she worked with artists including First Aid Kit, Best Coast, Gold Panda, Waxahatchee, Los Campesinos!, Veronica Falls and many more. In 2021 she joined project label management company Positive Subversion, where she worked closely with an eclectic roster of artist management and label clients.

Highlights during this time included project managing the award-winning campaign for Röyksopp’s Profound Mysteries, and leading on the release campaign for Dexys’ The Feminine Divine - which earned the band their highest charting album in over 40 years. Since launching Hit Reset, notable campaigns have included working closely with Los Campesinos! on the release of their seventh album, All Hell, on the band’s own label, Heart Swells. The album reached number 14 in the UK album charts - the first album in their 18 year career to earn a chart placement and their most successful release to date.

Describe a day in your life as a Founder at Hit Reset

Every day is different! I offer a lot of different services and the scope of my role is different for each client which means what I do on a day to day basis is quite varied which is something I really enjoy about my work. A typical day might include: a meeting with a client, working on the marketing and rollout plan for a release, liaising with a pressing plant on vinyl manufacturing, writing a playlisting pitch for a release, registering tracks at collection societies to make sure artists get paid… and listening to a lot of music!

How did you first get started in the music industry, and what drew you to independent music?

I studied a music business degree at university - as part of that degree I had to complete an internship. I interned at 4AD and loved it so much I stayed much longer than planned - then they heard Wichita Recordings were looking for an intern and recommended me for that. Pretty much straight after I started as an intern at Wichita the person who had brought me in left for another role in the music industry and I got her job! I was very fortunate to get that role as my first job in the music industry - it was a very small team so I got experience across all different aspects of a label, as well as artist management, there and I got to work with the best people and on records that I absolutely loved. 

In terms of what drew me to independent music - first and foremost, pretty much all of my favourite bands were signed to independent labels. I loved the spirit of independent music and it’s probably an obvious thing to say but the fact that the people are so driven by their love of music. The fact that artists working with independent labels have much more freedom and control vs artists signed to major labels was also a big factor!

Can you share some insights into what makes a release campaign successful, especially for independent artists?

I think how success is measured can vary a lot depending on the nature of the release, where the artist is at in their career and what their priorities are. One thing that is an important marker of success of a release for all artists is thinking about how it fits in with your development as an artist, and part of that is seeing fanbase growth and development during a campaign. The specifics of what that looks like will vary for each artist but you want to see an increase in metrics that show active engagement with your music and building things like your mailing list and D2C audience. I think it’s easy to get caught up on short term goals for a release - things like how many playlists you’re getting on. Those things are great too but actually converting listeners to fans and deepening that relationship is always the key goal for long term success.


What do you see as some of the biggest opportunities for independent artists in today’s music industry?

I think that artists having more options in terms of how they release music immediately opens up a lot of opportunities. Artists aren’t so reliant on getting a label deal to get their music out now - they can work with a distributor or label services company to get their music out or even release direct to fans on their own subscription service. Every artist is different and the traditional label set up makes sense for some artists - but if you’re in a position to self-release there’s obviously a lot of benefits to retaining ownership of your masters.

On a more general note I think there’s a growing sense of fatigue with content overload and the algorithm driven nature of social media and streaming platforms - people are hungry for deeper connection and community. Obviously it’s always been the case with music that fans want to connect with artists on a deeper level but that feels more heightened now and there’s an opportunity for artists to find ways to foster that with fans and break away from relying on those platforms in order to connect with them.


What’s been the most rewarding part of your career so far, and why?

It’s always rewarding when you get to work with artists for a long time and get to see their development and growth and be a part of that journey with them! One of my highlights of last year was working with Los Campesinos! on the release of their album All Hell on their own label. I’ve worked with the band for over 15 years (and been a fan for longer!) and it was amazing to see so much audience growth with the release of All Hell. It was their first album to chart in the UK (reaching #14) and the band sold out their biggest headline shows in the UK and US around the release.  One thing I particularly enjoy about working with LC! is how much the band always prioritise their fans - and in turn how dedicated and enthusiastic their fans are. It is really rewarding to see how much their music means to their fans and to get to play a part in helping them to release it.


For someone looking to follow a similar path in the music industry, what advice would you give about getting started and finding their niche?

I think in terms of getting started it’s really about getting as much experience as possible, learning as much as possible and also building connections and relationships with your peers. I think it’s only through actually doing that you get to find your strengths and find your niche so it’s important to keep an open mind and try out different things when you’re getting started.

TRACE's Transgressive Pop Universe and New Album T4TEARS

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TRACE is a singer, songwriter, producer, and instrumentalist whose work reflects her bodily, gendered experience. Based in Cologne, she crafts a transgressive pop universe with guitars, multifaceted production, and vocals that shift between ethereal softness and raw intensity.

Her 2023 debut album, FUCKING AND DREAMING, challenged perceptions of transness, offering a radical exploration of identity through lush dream-pop soundscapes, emotional vulnerability, and unapologetic honesty. The album redefined how trans narratives could be expressed in music, making TRACE a bold voice in contemporary pop artistry.

With her sophomore album, T4TEARS (2025), TRACE explores trans childhood, grief, and healing, blending dream-pop with delicate, organic textures. Working with her voice, guitar, and effects, her process draws on poetry, improvisation, and collaboration with queer artists.

TRACE’s live performances captivate audiences, with standout shows at the Cologne Philharmonic and Whole Festival. T4TEARS marks her most vulnerable and daring work, reconnecting with her younger trans self through raw lyrics and acoustic elements.

What sparked the creation of T4TEARS, and what story did you set out to tell through this album?

I have this huge space inside myself filled with grief and mourning. It is continually being refilled by the various forms of fascism in this world. That space was already opened up when I was a trans child and teenager, unsure of where to turn or how to make sense of the things I felt. I didn’t know there were others like me, and it would take another ten to twenty years to discover that. For a long time, I despised that child. I wanted to kill her, to rid myself of her, and, in the process, to kill myself as well.

T4TEARS became my way of moving closer to that child and teenager, of trying to sit in a room with her, even though I really didn’t want to. But I felt that I needed to forgive her, to hug her, love her, ask her for forgiveness—if I wanted to continue living. So that’s what I tried to do. 

You’ve called this project a reconnection with your younger trans self—what was the most transformative moment in that process?

The most transformative moments were probably when I felt I had actually come close to what I set out to achieve—that I was genuinely having a conversation with my younger self, actually hugging or caressing her. Or when I felt that others—their words, their voices, their instrumentation—were doing it with me or for me, while they were also doing the same thing for themselves.

How did collaborating with your chosen family of queer artists shape the album?

It was instrumental this time around to have other people keep me and my younger self company, to open up that very solitary trans childhood and teenage space to community. It’s a way of refusing to leave that child alone and also refusing to be alone in the present.

In making the album, it meant I had to trust others as much as I trust myself in creating. That in itself became a beautiful, flowing, and connective process. It also meant I had to relinquish control in a liberating way so others could be just as central to shaping the narrative of the album as I was—sometimes even more so.

If you had to choose one song from T4TEARS to listen to forever, which one would it be and why?

It’s counterintuitive for me to pick favorites on this album, but if I had to choose right now, I’d probably go with “everything i want to say is here”. The song features two very good friends of mine—Ráhel Eckstein-Kovács on harp and Jenny Browne, who wrote and speaks the words on the track.

The way the instruments and voice listen and respond to one another is so beautiful to me. Jenny’s words, written in response to the rest of the album, oscillate and vibrate with my vision in a way that touches me on such a deep level. 

I also just love their voice and the way everything dissolves with the music into this perfect poetic mixture of mourning, depression, longing, intimacy, sex, and transformation.

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

In the best case, music continually surprises me and lets me touch or approach something I didn’t know I could. Like with this album—you kind of have to take a leap of faith when making music, but if you do, you’re often gifted with so much in return.

The one thing I hate about making the music I make is that it’s not economically sustainable—and it never will be. I can’t do it all the time like I would love to.

If you had to describe your music using three words, what would they be?

Defiant, aching, joyful.

3 things you can’t live without in your bag

My hormones, my antidepressants, and my sleeping pills.

What are you listening to at the moment?

Lately, I’ve been stuck on Klara Lewis’s track “Thankful”. It’s an incredibly beautiful, lush piece, full of longing, sadness, and despair. Despite that, I always come back to Cleo Sol’s “Mother” every other day. Both give me a sense of calm, which I desperately need.

  • Interview by @ninakeh

TRACE - t4tears out now

Connect with TRACE on Instagram, YouTube, Website