How BMG’s Johanna Pustoc'h Helps Global Artists Thrive in Local Streaming Markets

Johanna Pustoc’h is Senior Manager, Streaming International at BMG, where she supports artists in reaching audiences across markets including India, Japan, the Nordics, and Africa. Based in Berlin, she works with DSPs such as Spotify and Apple Music, alongside regional platforms like Boomplay and JioSaavn, developing strategies that respond to local listening habits.

Her path into music began in advertising at Dentsu in Paris, followed by a Master’s in International Business. After moving to Berlin, she studied International Relations and Cultural Diplomacy, bringing together her interest in culture with her professional direction. A mentor’s encouragement and an opportunity at BMG gave her the chance to combine her focus on music, data, and international strategy.

Alongside her role at BMG, Johanna teaches and performs improv theatre. The practice sharpens her approach to collaboration and adaptability qualities, she also brings to the fast-moving world of streaming.

How did you get your start in the music industry?

Music has always been a love language in my family. Recommending a song often meant more than checking in. My grandparents met at music school, playing in the city orchestra, so music has always felt like a legacy.

For a long time, I kept it as a personal space. But during my Master's in Berlin, I worked at a startup connecting artists with events. There were painters, sculptors and musicians, and I quickly realised I was most drawn to working with musicians.

When I saw that BMG was hiring for an International Streaming Manager, something clicked. It brought together what I love most: international thinking, data and artist development. Laura Noel, who would soon become my boss, trusted my background and curiosity, and gave me the chance to learn on the job. 

My journey in music started with a moment of trust and someone bold enough to say yes. I’m deeply grateful for that

What does a typical day in your role look like?

As a Senior Manager Streaming International, my days are centered around key activities. I work closely with teams like marketing and artist management to understand upcoming releases and their needs. I analyze streaming performance, audience behavior, and charts from international markets to see what’s working.

A big part of my role is connecting with streaming platforms, global ones like Spotify and Apple Music, and regional platforms like JioSaavn in India, to understand their editorial priorities, promote releases, and explore visibility opportunities.

I keep up with local releases and emerging trends in these markets to stay informed. Since I don’t live there or share the same cultural background, I know I miss some nuances, so I educate myself continuously and ask colleagues or friends from those regions. I really enjoy this ongoing learning process.

Whether I’m building a rollout for a global icon like Kylie Minogue or supporting the rise of a newcomer like Yung Kai in India, no two days are the same, and that’s what makes this job exciting.

Ultimately, my goal is to help international artists build meaningful connections with local audiences.

You mentioned joining shesaid.so at a time of transition what helped you stay grounded or move forward during that period?

For me, it is a combination of community and challenge. I am part of a French German improvisation theatre group in Berlin, and that practice supports me in very concrete ways.

It keeps me grounded because before every show, I still get that small rush of adrenaline and ask myself, "Why am I doing this? I could be at home watching a series with my cat." After performances, I always reflect on what I could have done differently, where I missed things. But the group dynamic, and the sense of pride that comes from creating, always reminds me why it matters.

It actually connects quite a lot with my work in music. You put things out there without knowing how they will be received. You work as a team, deal with timing and expectations. Learning to be comfortable with the in-between moments is key. It helps to focus on the process, not only the results.

I also teach improv, and I find it rewarding to see people discover so many things about themselves. It reminds me that growth takes many forms, and to stay hopeful on the process.

Professionally, I would also say that finding mentors has been essential. Having people around who inspire you, who listen and who make you feel seen, especially in moments of doubt, makes a real difference.

You said you’re clearer now on what matters to you in this industry. What are some of those things?

On a personal level, I care deeply about who I work with. I look for a sense of team, people who share certain values but also challenge the way I see things. I’ve realised that the most inspiring people in the industry aren’t necessarily the loudest voices, the trendiest, or the ones at every networking event. They’re the ones who take time to learn from others, listen with intention, and allow their beliefs to evolve. I try to cultivate that mindset myself.

I value kindness over competition. I believe in spaces where people lift each other up, and that matters even more as a woman in this industry. I feel incredibly powerful when I work with women who are both strong and generous. It reminds us that leadership can look very different from what business schools teach, and that’s inspiring for any woman out there.

On a deeper level, I care about how music travels and builds bridges across cultures. I’m curious about local stories and how they resonate elsewhere. I want to work with artists who inspire me and others, not just musically, but in how they show up in the world. And I believe courage is essential: courage to challenge bias, say no to trends that don’t serve the artist, and try new things even if they might not work the first time.

What makes an international artist stand out to a global streaming team like yours?

All artists can be international! Just look at Achim Reichel, a German Schlager singer who unexpectedly entered the charts in China and became a trend! 

In my opinion, what makes the difference is kindness, curiosity, and gratitude towards their audience. When an artist takes the time to understand who their listeners are and makes a genuine effort to connect with them, it always stands out. Whether it’s engaging with a local trend or greeting fans in their language, those gestures go a long way. We love working with artists who want to connect, not just expand.

It also makes a real difference when artists trust our expertise and understand how streaming platforms work. Each DSP has its own logic, and tools. For example, on Spotify, features like pinned playlists and Canvas can increase visibility, strengthen artist identity and deepen the connection with listeners. 

But it’s not just about global platforms. I have a particular appreciation for artists who recognise the importance of regional DSPs like Boomplay and Audiomack in Africa, or JioSaavn and Gaana in India. These platforms are central in their markets, and they often offer highly localised features, from merch drops to fan engagement tools, that create real value when building a relationship with new listeners in local markets.

And then, there are projects that go a step further. I remember working on a fantastic release where Stefflon Don collaborated with Sidhu Moose Wala, a hugely loved Punjabi rapper who had sadly passed away. The track had a strong and immediate impact in India. It was a heartfelt tribute that meant a lot to Sidhu’s fans, and to Stefflon Don herself, who had genuine admiration for his work. It wasn’t just a feature, it was meaningful. And when it’s authentic, it resonates.

Any tips for indie or emerging artists trying to grow in markets outside their home country?

Start by getting curious. Learn who’s actually listening to you abroad, you might be surprised. Then go deeper: explore the local scene, understand the platforms people use, and take time to connect, not just expand. It’s less about conquering a market and more about engaging with it. Collaborate with local artists or creators, even if it is just on social media. 

Find subtle ways to show the connection you have with a specific market, whether it’s through the tracks you highlight in your pinned playlist, who you engage with on socials, or how you curate your presence. People can tell when it’s intentional, not just strategic.

Localise your visuals and metadata. It really does matter. Releasing music in India? Make sure your artist image fits the context. Targeting Latin America? Get your Spanish bio right. These things may seem small but details like that show respect, and they help people to connect.
And finally, be consistent and persistent. Visibility builds over time

What advice would you give someone who wants to follow a similar path?

• Be strategic, but stay true to yourself.
  Don’t fall into the trap of shaping yourself just to fit in. What makes you different is what will make you last. Learn to say no, or at least: not right now.

• Keep learning sideways.
  Whether it’s improvisation theatre, photography or Excel hacks, the things you do outside of work shape your vision and personality. Don’t underestimate how much your “non-industry” self can become your superpower.

• Be confident about asking questions.
  You don’t need to have all the answers. Curiosity opens doors, builds trust, and grow your ability to listen. It shows that you care, and that’s precious.

• Your path doesn’t need to be perfect to be meaningful.
  Apply for the role you think you’re not ready for. Say yes to things that scare you a little. Trust your resourcefulness, you’ll be surprised by how proud you will feel. 

Name three women or people in music who inspire you.

Laura Noel: She’s brilliant and leads with empathy, strength, and openness.  She’s the kind of leader who makes you better just by being in the room.

Florence Benguigui (ex-singer of L’imperatrice): She’s a force. She took her future into her own hands by leaving the group! I saw her live seven years ago and was completely captivated by her voice and aura. Seeing her flourish in projects that feel more human, inclusive, and respectful is a real light in a still male-driven industry. Go Florence <3

Aya Nakamura: Her unapologetic confidence and sharpness are magnetic. She takes up space without asking for permission and faces constant racist and criticism. But she’s not trying to prove anything. She sets her own rules in France and beyond. I mean, do you know any other Black French woman who opened the Olympics singing with the Garde Républicaine? Only Aya could do that.

What are you listening to on repeat right now?

Lately, I’ve been returning often to Tuyo’s latest album, Paisagem. Working on its international rollout gave me a deeper appreciation for their music. Their blend of folk, R&B, and electronic sounds creates a truly intimate vibe. The album explores themes of connection and memory, and with its Brazilian influence, it feels like the perfect mix to me.

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Connect with Johanna Pustoc’h on LinkedIn

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

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

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

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

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

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

How did you first get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Acantha Lang on TikTok & Instagram | Website

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

Photo by Nishant Gita

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

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

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

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

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

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

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

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

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

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

Rufy Ghazi at WISE 2025

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

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

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

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

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

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

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

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

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

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

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

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

Photo by Cxrryboi x DnBIndia BLRMassive

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

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

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

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

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

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

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

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

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

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

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

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Connect with Rufy Ghazi on LinkedIn & Instagram

Portfolio | PROMPT for Musicians

A Vibe Called B: Balancing DJ/Producer Life With a Full-Time Creative Career

A Vibe Called B is a London-based DJ and producer known for bold transitions, unpredictable blends and genre-fluid sets that move through Future Beats, Alt R&B, Global Club, Soulful Edits and percussive sounds.

Born in Birmingham and proudly Jamaican, B’s sound carries roots, rhythm and weight. Classically trained on flute and raised playing keys by ear in church, she hears harmony instinctively. That foundation shapes her approach to mixing, where precision meets raw feeling.

A Vibe Called B has played for brands such as Spotify, Red Bull, Les Amis, New Balance, Offspring and Jordans, and performed at Cross The Tracks and Boomtown Festival. She is also a resident for Soho House, G-SHOCK Radio and Pirate Studios.

Outside of music, she works as a Senior Director in global advertising, balancing two fast-paced creative worlds.

How did you get your start in music?

Music has always been at the centre of my life. Growing up, my mum, dad, and granny were massive music heads, so the house was constantly alive with sound. I was the kid who made all the playlists for family parties, always thinking about how songs flowed and set the mood.

At 11 years old, I even pretended I had my own radio station called Vibe FM, recording myself on a cassette tape. Funny enough, I completely forgot about that until years later when I created A Vibe Called B and Enter the Vibe Radio - it felt like a full-circle moment I didn’t even see coming.

From there, I threw myself deeper into music - I became classically trained on the flute and played in the Symphony Orchestra, while also playing piano by ear in church. I later studied Music Technology at college, which gave me another layer of understanding around production and sound.

DJing came into my life about four years ago, and I’ve been taking it seriously over the past two years. In many ways, it feels like the natural progression of everything that came before: from the family playlists and imaginary radio shows, to orchestras, church music, and music tech. Now, DJing is how I channel all of that - telling stories through sound, creating journeys that are always unexpected but always connect.

You work as a Senior Director in a global advertising company while also pursuing your DJ career. How do you balance these two demanding worlds?

It’s definitely a balancing act, but I see both sides as feeding into each other. My role as a Senior Director in global advertising is fast-paced, strategic, and constantly evolving - I’m always thinking about innovation, storytelling, and how to connect with people at scale. DJing, for me, is the most immediate and raw version of that: connecting with people in real time through music.

The way I manage it comes down to systems and rituals. I’ve built the right systems into my life - whether it’s task management tools, planning workflows, or content pipelines - that keep me organised and consistent. Alongside that, I lean on what I call “regulation, reset, and rituals” - gym sessions to keep my energy up, journaling to reset, or carving out strict time blocks to separate work and creative focus.

I’ve learned it’s less about chasing a perfect balance and more about flow: some weeks, work takes the lead; other weeks, music does. The systems keep me on track, and the rituals keep me grounded. At the core, both careers share the same DNA - creativity, energy, and the drive to leave people feeling something real.

Do you find that your experience in advertising influences the way you approach music and your brand as an artist and vice versa?

Absolutely - the link between the two is wild. In advertising, I’ve learned the importance of reading the room, telling stories that resonate, and being authentic. DJing is no different - it’s just that the “room” is a dancefloor instead of a boardroom, and the story is told through sound instead of slides.

My advertising side makes me think intentionally about how I present myself and my brand - the visuals, the positioning, the details behind the scenes. But music keeps me grounded in feeling. When I’m DJing, there’s no hiding behind strategy. It’s about instinct, honesty, and being present in the moment.

So the two balance each other out: one sharpens my vision, the other keeps me real. At the end of the day, whether I’m in a meeting or behind the decks, it always comes down to the same thing - knowing your audience, staying authentic, and leaving people with something they’ll remember.

Networking can feel daunting for some people. What’s worked best for you when it comes to building genuine relationships?

I’m not a fan of the word “networking” - it feels too rigged, forced, and strategic. For me, it’s always just been about building relationships in the most natural way possible: by showing up as myself.

I don’t go into conversations thinking about what I can get - I just have a chat. I bring my full self, I listen to really understand rather than just waiting for my turn to respond, and I let the energy flow from there. That’s where genuine connections are made.

When you strip away the pressure of “networking” and just focus on being human, it stops feeling like work and starts feeling like what it really is - people getting to know each other.

What habits or practices keep you grounded on a challenging day?

The gym is a big one for me - strength training or cardio instantly shifts my energy. Journaling helps me process what’s in my head, and I’ll often light candles, put my phone on flight mode, and take it back to basics with breathwork. Paying attention to my breath helps calm my nervous system and bring down those cortisol spikes.

I also lean on my faith. There’s a scripture I always return to: that God will never put more on me than I can bear. Remembering that means, in a way, I’ve already overcome whatever challenge I’m facing - it just hasn’t fully revealed itself yet. That perspective helps me push through, knowing I’m equipped to handle it.

The music industry can be unpredictable. How do you keep momentum when opportunities are inconsistent?

For me, momentum isn’t just about shows - it’s about consistency and growth. I keep a backlog of content and use a content calendar so I can stay visible with a steady posting rhythm. Not too much, but enough to stay top of mind and remind people of what I’m building.

But honestly, I love the quiet periods. That’s when I go into the lab - practicing, making edits, coming up with new ideas, filming content, or catching inspiration at other DJs’ sets. It’s also when I make space for the things that keep me whole: connecting with family and friends, spa days, massages, and self-care.

I expend so much energy in both advertising and music that the quiet is a blessing. We all need to embrace it instead of beating ourselves up with negative self-talk or falling into comparison. We need to get more comfortable with stillness. Being “booked and busy” 24/7 isn’t the only definition of momentum. Sometimes the most powerful progress - creative, personal, and spiritual - happens in the quiet.

You balance high-pressure creative work with professional leadership. What’s your advice for avoiding burnout while building a career in music?

For me it comes down to one word: balance. Burnout is real - I’ve felt it in both advertising and music, and neither side is fun. You can’t show up as your best self if you’re drained, distracted, or just going through the motions.

My biggest advice is to learn the power of “no.” Every gig that comes your way isn’t meant for you. Ask yourself: is this going to be a game-changer for my career, or just a nice-to-have? Does it truly serve me and my brand right now, or am I just saying yes because I don’t want to look “unbooked” or like I’m missing out?

It’s not easy, but sometimes the best career move is protecting your energy. Saying no creates space to say yes to the things that really matter. To avoid burnout, you have to stay present, intentional, and honest about what’s actually worth your time.

You’ve played for brands like Spotify, Red Bull, and at major festivals like Boomtown and Cross The Tracks. What advice would you give to DJs who want to move from grassroots gigs to those kinds of stages?

The first thing I’d say is focus on your craft and your identity. Before the big stages, I spent countless hours practicing (and still do!), refining my sound, and making sure I knew exactly what I bring to the table. You can’t skip that part. When the opportunities come, you need to be ready.

The second thing is the technical side, which often gets overlooked. Smaller gigs are where you really learn - because things will go wrong. Decks might not work properly, the sound might cut out, or the setup might throw you off. Playing those grassroots shows teaches you how to adapt, think on your feet, and keep the crowd with you no matter what. That resilience is what prepares you for the bigger stages.

And then, don’t underestimate the small parties. That’s where you build your audience, your name, and the word-of-mouth buzz that follows you into bigger rooms. I always play smaller stages like they’re my biggest stage ever, because at the end of the day a stage is a stage. That same talent booker who’s at a festival might also be in that tiny basement crowd - you never know who’s watching. Don’t be so quick to chase the branded global stages - they will come, believe me.

And finally, patience and perspective. Don’t compare your timeline to anyone else’s. Those bigger stages will arrive when they’re supposed to, and when they do, it’s about showing up authentically. My mantra is simple: stay ready, so you don’t have to get ready. The same energy you’d bring to a festival set is the same energy you should bring to a small party. 

Because the size of the stage doesn’t define you - the impact you leave on the people in front of you does.

If you could give one piece of advice to your younger self about entering the music industry, what would it be?

Remember that little girl recording Vibe FM on cassette? She had it right. Hold onto that joy and playfulness - because that’s the energy that will keep you going when the industry feels heavy.

The music industry is a business, yes - and you need your strategy, your systems, and your business hat on. But at its core, music is about expression, love, energy, and emotion. It’s fun. It’s freedom. It’s connection. That excitement you felt pretending to run a radio station? That’s the same spark you need to protect and carry with you as you move forward in this industry.

When it feels overwhelming, go back to that feeling. Protect it, nurture it, and let it guide you.

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A Vibe Called B Instagram | Website

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Connect with Ruth Daniel | In Place of War | EarthSonic

Lois Hayes: From Global Music Marketing Campaigns to Sustainable Creativity

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tips for anyone who wants to get into your industry.

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

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Connect with Lois Hayes on LinkedIn | Website | Free Masterclass

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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• Bye Bye Plastic’s Impact Report 2024

• BBP General Deck

• Bye Bye Plastic on Instagram & Website

• Connect with Camille Guitteau

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

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.

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Connect with Lucki Price on LinkedIn & Instagram

Vicky Eacott: Building a Career in Independent Music

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.

Lucy Michael of 'Tru Thoughts' Shares Tips for Artists and Breaking into Music PR

Lucy is the Content and Promotions Manager at Tru Thoughts, an independent record label based in Brighton that has spent 25 years working with an international roster of artists, including Bonobo, Quantic, Alice Russell, Hot 8 Brass Band, Tara Lily, WheelUP, and Footshooter.

She gained her experience across Brighton, from working club doors to promoting concerts with JOY. She also hosted a radio show on Brighton’s Platform B. Lucy has represented Tru Thoughts at festivals such as Gilles Peterson’s We Out Here, Love Supreme, Brick Lane Jazz Festival, and Offie Mag events, and she’s had the opportunity to support Mr. Scruff live.

How did you get your start in music?

I studied music production in college, driven by a fascination with sampling culture. While exploring the creative side, I became curious about the business side industry and was eager to gain practical, hands-on experience. To start, I approached my local venue and offered to help out.

After a few months of volunteering and learning the ropes, the event manager was happy for me to take over while he went on tour. That experience fueled my passion, and I began seeking opportunities to volunteer at festivals and reach out to music companies during my university years. This allowed me to explore various facets of the industry and understand how they are connected. My role at Tru Thoughts started with an internship inquiry that eventually became a full-time position which has developed over my time there.

Share 1 top strategy for content marketing for artists in 2025

A top strategy for content marketing in 2025 is to focus on genuinely connecting with your audience. I’d say it’s just as important to thank and reward your followers as it is to promote your work. Whether it’s a heartfelt thank-you, sharing a laugh or something you’re passionate about, or giving a behind-the-scenes glimpse into your world, those personal touches go a long way in building a loyal and engaged community around your music and artistry.

What advice do you have for artists looking to get signed by an indie label?

Once you’ve got a project you’re proud of, send demos to indie labels through their submission portals or A&R contacts. Share your story along with your music, labels value getting to know the artist behind the sound.

Keep your pitch concise and compelling. I’d recommend really researching the label to make sure your style fits their roster. A tailored approach will help you stand out. Importantly, don’t be discouraged by rejection, if you don’t hear back keep refining your craft and growing your network, and the right opportunity will come. 

Tips for anyone who wants to get into your industry

To break into music PR and promo, start by volunteering in your local scene to gain experience and build connections. Stay informed through music newsletters, podcasts, and platforms like shesaid.so. Follow the influencers, stations, and tastemakers shaping the industry. If you’re starting out, attend gigs, label showcases, and visit record shops to immerse yourself in the scene and don’t be shy about striking up conversations and building relationships. Pay attention to where music is shared and which press platforms and radio stations cover it. 

What are you listening to at the moment?

Bonnie Calista - Sunday Eve, Baby

Only the good times (burial remix) - L.B.Corp, Burial

Amy Whinehouse - Moody’s mood for love

Footshooter - Obelisk feat. Natty Wylah & brother portrait

Crafty 893 - Nothing Left

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Connect with Lucy Michael on LinkedIn | Tru Thoughts

Miranda Joan's Soulful Storytelling Through Music

Miranda Joan is a Brooklyn-based singer, songwriter, and musician. Born in Montréal and raised on Vancouver’s north shore, she developed her songwriting through personal experiences, shaping a unique blend of Soul-Pop. Influenced by artists like Bill Withers, Stevie Wonder, Carole King, Anderson Paak, and Little Dragon, her music combines classic and contemporary styles with intricate songwriting and playful production.

Miranda’s self-released album ‘Overstimulated’ has garnered over 500,000 streams since its release in November 2023. Following the release, MIranda has pressed and distributed the album on special edition red vinyl, headlined London’s 100 Club, supported Adi Oasis in New York and performed at SXSW as part of the Submit Hub showcase.

Miranda recently joined our community as a winner of the 10th Anniversary competition we ran with Marshall, celebrating a decade of shesaid.so. She is currently on tour with The Killers as a backing vocalist.

Touring can be both exhilarating and overwhelming. Do you have any tips for artist on tour?

Touring is absolutely both of those things. Overstimulated is the album title but it has also been my constant state of being. The best advice I can give is to hone in on what things ground you and find time for them. It has to be flexible but a couple things that I try to honor on the road are a morning routine and before bed routine. Otherwise, in the chaos and movement of it all, it’s easy to feel out of control. Small things like exercise, journaling, time to talk with loved ones, down time and trying to eat well can help create some balance. I want to do my best job on stage and balance it with time for myself and my art when I’m off the road. It’s an ever-shifting target that requires adaptability, patience and focus. Also, bring vitamins and supplements!!! All the immunity boosting things - very helpful :) 

If you could choose one song from your album"Overstimulated" to highlight, which would it be and why?

I think it would be fitting to highlight my song “She Knows” for the shesaid.so family. It’s an ode to the female friendships in my life; the ones that keep me grounded; those who truly know me. I think this community is in many ways rooted in the idea that we can’t do it alone but together there’s a limitlessness to the possibility of what we can create. I get by with **a lot** of help from my friends; my family, and this song is about the growth we’ve lived together and also the simplicity and innocence of the beautiful things that we were so connected to as young people. Things that still live within us beneath the noise we onboard as we grow up. Every time I get to sing this song is a moment of tending to those beautiful things. It feels like a chance to pull the weeds from my spirit. 

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

My favorite thing about making music is really just that - making it. I love the process of creating. I love being in the studio, I love working on things. It’s so pure and real. I think it’s the thing that keeps me in the game because when I’m actually creating there’s nothing else I’d rather be doing. The best feeling is the excitement of a new demo, one you listen to on repeat with all the jitters and butterflies of falling in love. Not because it’s “good” but because it feels good; to exercise this part of yourself, of your life and experiences, the good, the bad and the between, and make music out of it. It makes the living feel all that more deep. 

My least favorite part… well that probably depends on the day, ha! But I’d say that releasing music is the most challenging. That’s when expectations start to creep in. When you share your music you are inevitably welcoming in feedback. Sharing is half the beauty because that’s when you get to see the songs take on new life; when they are no longer yours but something that others can find themselves in.

What’s challenging is the pressure that is both put on us as artists and that we put on ourselves to be successful in some very specific ways. It feels like the unspoken expectation amongst artists is some version of commercial success and the very spoken desire is to be able to live off of our art. Both of these things are incredibly hard to do and so it’s easy to reduce your work and, by osmosis, yourself, into something small, not good enough; unworthy. It’s so far from the place of creation and so I try my best - with loads of support from my loved ones - to stay rooted in the reasons why I make music at all. It is my greatest love but I am human and not impermeable to the noise and numbers we are constantly forced to judge ourselves by. It takes great mental fortitude to continue to find forward motion; to not give up on yourself.    

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

Be a good person and an even better friend. Find the people who inspire you to be the best version of yourself and show up for them. Not for gain but because those relationships, one of true and genuine exchanges of energy and love, will make you feel good, make life livable, and be your greatest source of strength in whatever you do. Maybe this is bad advice, but it is my very real relationships that have gotten me the farthest in my career so far (big shoutout to my people - I love and appreciate you and I am always rooting for you).

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

 Soulful, silky and story-driven. 

3 people who inspire you

My mom, my brother, Martha Cleary.

3 things you can’t live without in your bag

Phone (yuck but it’s sadly true), airpods, lip chap. 

An album that changed your life

Honey by Robyn

What are you listening to at the moment?

Currently, I’ve been swept up in the monoculture - BRAT, Rise & Fall of a Midwestern Princess, and the Wicked soundtrack have hit hardest for me. When I need to escape and feel cozy, I return to some of my favorite artists like Emily King, Stevie Wonder, Anderson Paak., Robyn, Donny Hathaway, Little Dragon, the list goes on.

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Follow Miranda Joan on Instagram | Website

Anne-Flore Levacher: Behind the Scenes of Artist Development and Project Management at Roche Musique

Anne-Flore is an experienced project manager with seven years in the music industry, specializing in French electronic music. Her passion for music began in childhood, inspired by the French Touch pioneers at Ed Banger Records, with artists like Justice, Sebastian, and Breakbot shaping her early musical taste. Raised by parents who loved soul and jazz, especially Motown, she took up guitar and voice lessons, building the foundation for her future career. 

Originally from a small village in southern France, Anne-Flore moved to Paris to pursue her goal of working in music. Following an internship at the "Plages Électroniques" festival in Cannes, she joined Roche Musique in 2017, during a period of growth driven by Lo-fi and chill artists like FKJ and Dabeull. Anne-Flore quickly became a key team member, known for her dedication and strong relationships with artists and colleagues alike. 

Her career gained an international dimension after a two-year stay in Mexico, where she expanded her network and developed a particular interest in niche hybrid genres, especially within Latin and Hispanic music scenes.

Describe a day in your life working as a Head of Projects at Roche Musique

Each day is different, which is what I love most about my job. My mornings typically start with checking emails, and the afternoons are often filled with meetings.

I begin by reviewing performance data and stats, analyzing trends, playlist engagement, and marketing campaign outcomes. I stay in regular contact with key partners to discuss recent releases and plan upcoming ones—including Believe for digital distribution, Bigwax for physical distribution, Base for marketing campaigns, along with managers and PR teams.

A key part of my role involves approving mixes, masters, and tracklists, setting up digital and street rollouts, and collaborating closely with artists on artistic direction to identify the best visual partners for each release (for music videos, artwork, press shots, etc.). My role centers on coordinating all project aspects, ensuring smooth communication among everyone involved—management, legal, A&R, distribution, DSPs, community managers, and, ultimately, our fans.

I spend at least an hour a day listening to new releases, checking playlists, and reading industry news to stay current. And every Friday, I share my favorite releases with friends and colleagues on Instagram.

How is the French electronic music scene today?

French electronic music had a defining moment in the early 2010s with labels like Ed Banger, Roche Musique, Partyfine, Kitsuné, Electroposé, and YouTube channels like TheSoundYouNeed and MajesticCasual.

In 2024, however, it's harder to isolate “French electronic music” as a distinct genre, as many recent releases are heavily influenced by the UK scene (D&B, UKG, Jersey) and other rising “mainstream” styles such as Amapiano, Batida, and Baile Funk.

That said, French electronic music—especially the “French Touch”—remains a cherished cultural legacy. A recent example is Kavinsky’s "Nightcall" featuring Angèle, which received renewed attention after being featured in the Olympics closing ceremony. I believe Gen Alpha will continue to shape this genre in the coming years, blending the heritage of French electronic music with fresh, hybrid styles.

At Roche Musique, what’s your biggest focus when it comes to artist growth?

For the past 12 years, our main priority has been building long-lasting careers for our artists. We’re dedicated to taking our time to communicate, collaborate, and make informed decisions to deliver our best work. Building a loyal fanbase is a long game but essential to our approach, which is why we invest in understanding our audience as closely as possible to offer them an authentic musical experience. We also place a strong emphasis on visual artistic direction—something I believe is a key strength of ours.

What trends in electronic music are you watching closely right now?

I’m particularly interested in the emergence of hybrid genres that blend electronic music with diverse influences—like jazz-fusion, electronica-flamenco, Spanish synth-pop, French DnB, and float house. I’m always on the lookout for genres that bring groove into new, more upbeat tempos.

What project at Roche Musique (or anywhere else) are you most proud of?

The recent project I’m most proud of is Dabeull's debut album, Analog Love. This project was a bold endeavor—a funk album recorded entirely on analog equipment, including Michael Jackson’s Harrison 32-C mixing console, released in 2024. Despite the digital-heavy landscape of today’s music industry, we managed to resonate with the fanbase through minimal yet impactful marketing, all in line with the artist’s reserved style (including a billboard on Sunset Boulevard in LA). And, on a fun note, it’s easily the grooviest, most danceable album we’ve released!

For those looking to pursue a career in your field, what advice would you offer? Are there specific skills, tools, or mindsets that are crucial for success in this field?

There’s no single formula for building a career at a label, but one quality I find essential is curiosity. Curiosity is critical in this industry, where so much depends on staying fresh and discovering new artists, instruments, marketing strategies, digital tools, and even legal nuances. Especially in an independent label, we don’t have a fixed playbook, so we tailor campaigns and strategies to each artist and project. I’m a “jack of all trades” when it comes to music, and my habit of digging for new sounds—particularly through SoundCloud—was instrumental in landing my current role.

Three essential things you always carry with you in your bag

Headphones, chakra stones (heliolite, carnelian, clear quartz), and a sudoku puzzle book.

What are you listening to at the moment?

Lately, I’ve been listening to emerging Spanish artists like Judeline, Ralphie Choo, Mori, Tristan, and Amaia, as well as the latest albums from Doechii and _by.Alexander.

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Connect with Anne-Flore Levacher on Instagram & LinkedIn

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Member Spotlight: Abbey Road's Award-Winning Mastering Engineer Cicely Balston

Cicely Balston is one of London’s top mastering engineers, having established herself as a leading figure in the industry since 2013. Known for her expertise across digital and vinyl formats, she has worked with a wide range of artists and genres, including David Bowie, Nubya Garcia, Eric B. & Rakim, Usher, Simply Red, Ludovico Einaudi, and Porcupine Tree. Her talent was recognized last year when she won the Music Producers Guild's Mastering Engineer of the Year award, after being shortlisted in 2021.

Cicely's portfolio also includes an impressive range of soundtracks for film and TV, such as Harry Escott’s BAFTA-winning score for Roadkill, Self Esteem’s score for the National Theatre’s Prima Facie, and Roger Goula’s All That Breathes, which won Best Documentary at both Sundance and Cannes. Recently, she’s worked on albums for Palace, girli, Witch Fever, David Gray, and Max Richter, showcasing her versatility in working with both legendary artists and up-and-coming talent.

In this Q&A, Cicely talks about her experiences in music mastering, sharing insights into her work with various artists and her time at Abbey Road Studios.

How did you begin your career in the music industry?

I always played instruments growing up, and although I loved playing I never particularly wanted to be a performer. I remember getting interested in what was going on in the background of recordings - looking at the CD liner notes and seeing all these names and roles being listed. While I was studying (I went to Surrey University and did their Tonmeister degree) I did a placement year and was able to work at a few different studios/music companies, one of which was a really lovely mastering studio/record label called Gearbox Records and it all went from there really! 

Describe a day in your life as a mastering engineer. 

I like to get in earlyish (to give me a bit of time before the emails start kicking off), I work out what I need to do for the day, write myself a list (which gets added to if things come in) and then get to it! The job changes with every project, but if I’m starting an album I get all the mixes in, take a listen through and work out where I’m going to start, what kind of sound I think I want to be going for and check if there’s anything I need to ask about on the mixes. And then usually the day will be a blend of new projects to master, either with or without the artists or producer present, cutting vinyl master lacquers, tweaks/changes on projects I’ve already started and general admin/chatting to my colleagues/drinking coffee etc

What drew you to mastering other roles in music production?

I really like the balance between technical (knowledge of formats and equipment etc) and creative in mastering - it’s amazing how much you can sculpt the sound even when just working from a mixed stereo WAV. I also love being part of the final stages of the creative process and really helping people to realise their creative vision and getting them on their way to their music being out in the world.

You’ve had the opportunity to work on high-profile projects, such as remastering David Bowie’s back catalog. Can you share one of your favorite moments in your career?

That particular project was amazing start to finish, but within that one I think listening to the original half inch tape masters of Let’s Dance, which was the album I knew best before starting the project, is something I’ll never forget! More recently I won the Music Producer’s Guild ‘Mastering Engineer of the Year’ in 2023 and walking up to collect the award having heard my name announced was an incredible feeling and a huge career highlight. 

3 essential things you always carry with you in your bag

Earplugs! I have moulded ones from ACS and I cannot recommend them highly enough, I wear them at gigs, in pubs, on the tube - both for hearing protection but also if I’m getting a bit overwhelmed. Headphones - I have some Sonos headphones that I like, or smaller Fairphone ones for out and about. And I generally have some lip balm somewhere on my person - long hours in air conditioned rooms leaves me needing it! 

One piece of advice you'd give your younger self

I’d tell myself to work hard, but to feel more confident to do what’s right for you - sometimes turning down an opportunity that isn’t quite right actually leaves space for opportunities that fit you better to come in. 

What are you listening to at the moment?

Right now I’m in a guitar band renaissance which is involving a lot of Green Day, anything by Illuminati Hotties and there’s a new EP from Charly Bliss that I’ve been playing on repeat.

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Connect with Cicely on LinkedIn & Instagram

Abbey Road Studios Profile

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NikNak: the Turntablist Embracing Afrofuturism and Blade Runner-Inspired Soundscapes

Photo credit: Emilly Obeng

NikNak, a musical polymath excelling in composing, sound design, DJing, and turntablism, made history in 2020 as the first Black turntablist to receive the prestigious Oram Award. Known for her albums, remixes, and performances, she has gained worldwide recognition and praise from DJ Mag, Clash, The Wire, and Resident Advisor. Her debut album Bashi received critical acclaim, and her fourth studio album, Ireti is available now on Matthew Herbert’s Accidental Records.

Ireti embraces Afrofuturism and explores the intersection of humanity and technology. Inspired by films and video games like Blade Runner and Cyberpunk 2077, it tells a dystopian story about reclaiming humanity from machines. “If there was a Black Blade Runner, this would be the soundtrack,” says NikNak.

The album features collaborations with Agaama, Cassie Kinoshi, Chisara Agor, Grifton Forbes-Amos, and SlowPitchSound, blending turntablism, experimental synthesis, haunting vocals, and dynamic electronic elements. It spans genres like jazz, jungle, experimental, and trip-hop.

Tracks like "This Pile Of Rubble is More Human" and "12000 RPM" depict urban chaos and high-octane action. “I wanted to create the sound of the world collapsing,” NikNak explains, using manipulated fireworks sounds to evoke a war-like atmosphere. "You Were Supposed To Be Good" features Grifton Forbes-Amos and Cassie Kinoshi on horns and saxophone, enhancing the track’s impact.

NikNak is touring the UK and Europe throughout spring and summer to celebrate the album's release.

Your new album, "Ireti," delves into Afrofuturism and explores the intersection of humanity and technology. Can you tell us more about how this concept influenced your creative process?

In one way it was from seeing a growing increase in AI availability and how it’s been clashing with artists, resulting in works being stolen or manipulated, and even in some cases big organizations choosing it as an option instead of paying artists. In another way, it was from being surrounded by the ways we’ve seen it be depicted in media thus far but without much Black representation - Blade Runner for example. 

Your music is known for its fusion of turntablism, experimental synthesis, vocals, and electronic elements. For those unfamiliar with turntablism, could you explain what it is and how you first got involved with it?

Turntablism is a term originally coined by DJ Babu where a turntable is being used to creatively manipulate sounds into melodies and rhythms. It’s more commonly associated with hiphop where people would scratch onto a hiphop beat, but it’s also known in more experimental and avant garde styles of music too. I first got involved with it during my undergraduate studies in Leicester via a really engaging lecture from Dr. Sophy Smith, but also through working in a bar and watching DJs scratch funk and hiphop tracks every Friday night. It was a particularly important time and everything kind of fell into place because I was learning how two seemingly different groups of people use the same tech to create/play music with. 

How has your approach to turntablism evolved over the years, and in what ways has it influenced the production and storytelling in your latest album, "Ireti"?

Getting rid of the imposter syndrome for one has been a massive impact, and realizing that I don’t have to be locked into a specific genre or style to do it too. I love playing with the traditional scratch samples everyone is somewhat familiar with if the idea calls for it at the moment, but I equally love playing with everyday sounds too. That doesn’t make me any more or less of a turntablist, I just have my own approach; the same way that if you give the exact same guitar to Jimi Hendrix and Eric Clapton for example, you’ll get two entirely different sounds. Over the years, I’d say my sound has grown in its confidence as I’ve grown confident in my ideas and ways I want to express and share them, hence the creations of Ireti, Sankofa and other projects. 

What drew you to explore and fuse Afrofuturism in your music?

I’m a nerd and it’s taken me a long time to learn about other Black nerds who create worlds in their own ways too, whether it’s on purpose or spontaneous. The fact that there are authors, scholars, comic book artists and more that are actively trying to contribute to diversifying these worlds in myriads of ways is really important to me, especially as I didn't see much of it growing up. My sources of representation in these worlds was primarily Storm from the X-men… and while later in life, I can say there are artists like Erykah Badu and Sun Ra who have these elements in their music, I didn’t know what the vocabulary was until much later in life, and that’s the problem. I guess what drew me to it is the sense of finally having a language or term that encompasses a chunk of the things I’m passionate and excited about, that also means that I don’t have to shrink in some way to fit into it either. I wouldn’t necessarily say it’s a “fusion of Afrofuturism with my music”, but instead it’s a realization that I can tell stories and/or ask questions within the realm of Afrofuturism, with genuine interest and without trying to be something I’m not. 

What's your top advice for young people wanting to become music producers/singer-songwriters etc.

Make what you want to make. There’s no point in trying to emulate sounds that don’t resonate for you for the sake of it being popular or wanting to go viral. That in itself means it’ll be somewhat soulless with a mandate of wanting to fit in. What if you don’t want to do that? Play with sounds and ideas, and see what happens after the fact. You’ll be surprised with how much you’ve changed as you grow and mature - so will your sounds and ideas. Don’t lose sight of that, or the fact that at the end of the day, we’re all just messing around with sounds and noises. 

• Interview by ninakeh for shesaid.so

Connect with NikNak

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Member Spotlight: Stef Pascual

Stef Pascual is Digital Marketing Director for the UK and Europe at Concord Label Group. She works on frontline and catalogue campaigns across the Concord roster, that includes artists like Chelsea Wolfe, Killer Mike, NOISY, Pierce The Veil, Evanescence, Hermanos Gutierrez, HEALTH and many more. She’s also one half of the independent label Silent Cult, home to artists like Mimi Barks and Miss Vincent.

Stef started in the music industry as an intern at a record label in Barcelona, and when she moved to London she found in state51 the perfect company to develop her career and push for innovation, fairness and change in the industry. Afterwards, she headed the Digital department at Essential / Sony Red, working on marketing and strategy for labels like Cooking Vinyl, Full Time Hobby and FatCat, and campaigns for Skepta and Alter Bridge.

She became Head of Digital at Crown Talent / Talent Everywhere in 2017, working with clients like Becky Hill, Ella Henderson, Fusion Festival and 9 to 5 the Musical. In 2021 she joined the marketing agency Deviate Digital, and as their General Manager she led campaigns for PIAS, AWAL, Kilimanjaro and Various Artists Management to name a few.

How did you get your start in music? 

I found out pretty early in life that sadly I don’t have any musical talent whatsoever, but music was my biggest passion, and I was adamant I was going to work in the industry somehow.

Back in my hometown, Zaragoza, I started a music fanzine with friends and helped book a couple of gigs, but it wasn’t until I was 18 and moved to Barcelona that I landed an internship in an independent record label, and did every job that they threw at me. Literally EVERY JOB: from preparing riders backstage to packing orders, from data entry to flyering at gigs and selling records at festivals.

Then I moved to London and after a year working at a Virgin Megastores shop (still a music job I guess!) I was hired as an intern at The state51 Conspiracy, which was a dream company to land on, as I learned a lot and ended up becoming their Head of Digital. 

I owe a lot to these 2 internship opportunities at the beginning of my career.

What inspired you to pursue a career in digital marketing within the music industry?

Back in Barcelona in the early 2000s I was lucky enough to attend a conference where Scott Cohen spoke about digital distribution, and it blew my mind. It sounded fresh and new, with plenty of opportunities to innovate and be creative.

I think that because it was so new not many people cared about it, so there was space for the new generations to jump in. 

My days were spent in IRC chats, Audiogalaxy and MySpace, and with my academic background being Marketing, PR and Advertising, I developed a skillset that seemed to fit right into the digital marketing world. I find it’s the perfect playground for you if you are a bit of a data nerd with a creative heart! 

What key skills or qualities are essential for success in your sector?

I’d say that curiosity is definitely a key trait to work in Digital Marketing. Always being in learning mode will help you to stay up to date with the daily changes in the industry, but also to nurture your creativity with findings from different industries. 

You also want to be a people person, and learn from different audiences, getting to know other types of people outside your music industry bubble. Most people are not thinking about music 24/7 (I know, shocking!) and we need to know how to reach them and get their attention.

Another skill that definitely comes in handy is data analysis. You’ll need to deal with data from socials, advertising and consumption daily, and if you are not keen on handling numbers and finding insights this job will definitely be a drag.

What aspect of your work brings you the most joy, and conversely, what aspect presents the greatest challenge for you?

Due to the nature of Digital Marketing, we can assess the results of our efforts almost immediately. I find it incredibly rewarding when an artist improves their KPIs on socials following my recommendations, or when a specific creative asset I requested performs much better than other ones provided, for example. Especially if my ideas sounded a bit risky or out-there at first, seeing positive results attributable to my input is the best form of validation.

I find one of the biggest challenges we face in Digital Marketing is to justify certain strategies. Some artists and management teams want to stick to the devil they know and spend on advertising for example, when they really should be focusing resources on content creation or audience growth. I approach my campaigns as a long-term effort when possible, and it is very rare that one specific advertising campaign or activation leads to success, but it’s something that is sometimes expected from us and can be very challenging.

What are your top 2 strategies when it comes to creating a successful campaign?

It is key to have as much visibility as possible of the full campaign and collaborate with all teams involved. There’s no point in doing a great digital activation if the artist can’t support on socials, or to define audiences for advertising based on consumption and engagement if the PR team is trying to reposition an artist and targeting new media outlets. Everything needs to work in sync for a successful campaign.

I also think that all innovation should be guided by data insights and the specific needs of each campaign. It also means we need to push ourselves further to be more creative when there are goals to meet and restrictions on what can be done, for example in terms of resources.

Tips for anyone who wants to get into your industry

Compared to other industries, I think that Digital Marketing has low barriers to entry as there is plenty of knowledge freely available online, and you don’t need much to get started.

I am very grateful for my formal qualifications, but in this world it is definitely more valuable to have up-to-date knowledge and experience.

Learn how to edit videos, use different social platforms to understand what works, open ad accounts to start testing small spends and connect with developing artists that would be keen on collaborating with you to get you started.

Once you think you are ready for an internship or an entry-level job, do your research about campaigns that caught your eye and find out who was behind them in order to approach them. Remember that networking should be about connection, not so much about hustling, so reach out to people that you’ve done your research on politely, and ask for a quick call or a piece of specific advice. Think about building up relationships and not just emailing your CV, as if there’s no vacancies available your email will end up straight in the bin.

Tips for staying grounded on a tough day

I learned the value of working on my wellbeing the hard way. It’s easy to get excited, put more hours in, say yes to everything and get lost in the madness.

My best piece of advice to stay grounded and avoid burning-out  is to make sure you check in with yourself at least once per day - How are you feeling today? Is there anything that can wait for tomorrow? Have you planned something on your day that makes you feel good?

Also don’t underestimate the value of exercise, even light mobility workouts or stretching will do wonders for our mental health and anxiety.

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Interview: DJ Paulette

DJ Paulette

From iconic B2Bs to legendary residencies, DJ Paulette has dominated the dance scene for 30+ years. She's an award-winning DJ and recipient of the DJ Mag Top 100 Lifetime Achievement Award and a force in disco, house, and techno.

DJ Paulette's latest achievement is the release of her book "Welcome to the Club: The Life and Lessons of a Black Woman DJ". The book marks the debut of DJ Paulette as the first Black woman to pen her experiences in EDM and house music.

Within the pages, she shares her journey, recounting personal stories and engaging in conversations with accomplished women in the industry. The book unveils the industry's exclusivity, tackling issues of misogyny, racism, and classism. Endorsed by numerous industry figureheads and celebrated Manchester legends, the book features a foreword by Annie Mac.

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Hi, I am DJ Paulette. I'm a DJ by trade. Can you believe it's an actual full time career? I also present radio shows. I work for BBC Radio 6 Music, have a monthly show on Reform Radio and a Global Residency which you can find on Apple Music. I’m Manchester born and bred and my family's all here. I live here. Oh, and I'm a published author. I've got a book out in January 23rd called “Welcome to the Club: The life and lessons of a Black Woman DJ”.

What were your first steps in this industry?

When I was 18 years old, I started working at Piccadilly Radio. I sent in an application for this new show, which was a teen magazine/lifestyle show. I sprayed my application with CK’s Obsession perfume (you have to get noticed in this game) and they liked my application, I was invited to audition and I was chosen. It was a youth programme but I absolutely loved it. I was working with two bright young stars, Chris Evans and Becky Want. The programme taught me how to interview people. It taught me how to go to gigs and write good scripts and reviews for clubs and listings. It introduced me to the celebrity side, because I got to interview people like Martin Fry from ABC.  It really gave me a taste of the music industry. But aside from that, my mum was a singer, she sang jazz and cabaret, so all of the family were really musically trained, we were all into music, buying records, that kind of thing. I'd also been clubbing since I was 15 years old.

Then I sang in bands and got fired a lot. Not because I was rubbish. Whenever I'd be in rehearsals, I'd always be in tracksuits. So when it came to the gigs and I dress up like that, it was like “you're not really a backing singer, you're fired”, which wasn't fair. So when DJing came along, I thought this is a way of performing and a way of delivering my music that is down to me. Nobody could fire me. I could look how I wanted. I could play what I wanted. And I could just entertain people for as many hours as I was put behind the decks.

Years later, a friend of mine called Tommy introduced me to a woman called Adele. She was putting on a party at The Number One Club where I was dancing. Adele had run out of money for a big DJ name and she was looking for someone to play records for the night. Tommy told her that I had lots of records. So we met, we talked about music and for some reason (was she desperate or did she think I'd be good at it, I don't know) she chose me to do it. I was studying for my degree at the time, so I thought, I could earn money doing something that I really love, that I wanted to do. I loved clubs, I loved clubbing. I'd never DJed before. I didn't have my own decks or anything like that, but I just thought it'd be a good idea. She paid me 30 pounds (from 9pm till two in the morning). It was 1992, so that was actually quite decent money (well, it was better than nothing). But then I went out and spent my entire grant money on records. The rest is history.

From there, I met Paul and Lucy (A Bit Ginger Productions), they were putting on a new party at the Hacienda called Flesh, and they needed somebody to host their second room. I was suddenly thrown into the deep end and DJed once a month at the Hacienda downstairs.

It was a big gay night in Manchester and attitudes to anything gay in the 90s weren’t that cool, so I hid it. I didn't tell anyone at Uni. I was the boring, married, mature student, so if anyone from my class ever turned up at Flesh, I hid from them.

Then it - and I -  became more public as time went on, because I was good at what I did. And I became a face in Manchester. So it's like, well, you can hide but not for long. I became successful and I started DJing in Nottingham, at Venus in Leeds at Vague and started moving around. And then the next thing I knew I was being picked to DJ at Heaven in London, at the ZAP Club in Brighton. When I graduated, I intended to become a teacher, a professor, you know, do an MA, go the full academic route, but DJing came along and that was the end of that.

Your book “Welcome to the Club” is the first self-penned book by a black female DJ, can you share with us the inspiration behind writing this book?

My inspiration for writing “Welcome to the Club” came from many places. First of all, lots of people asked me why, if I've been doing this for 30 years, why has it taken me so long to get any kind of flowers for the work that I've been doing over the years? I needed to explain certain challenging aspects of my career that were hidden and also put my history out there because it wasn't out there. People couldn't really understand anything about me because if you Googled me, there wasn't really that much information. 16 years in Europe had created a bit of a blind spot. So I thought, either I could wait for somebody to write a book about me or I could do it myself. And I'm very much a self-starter. 

I didn't pitch this book to anybody. The publishers came to me with the idea during the second lockdown. I've been really mercenary about saying ‘yes’ to this publisher, because I knew that this book was going to go into the libraries. So then history is set. It's not just an ordinary book. It is an academic book, which means it goes into every university library from here (UK) to the United States to France, to wherever. I'm making a point of creating a history for this particular subject. And it's never been done before.

I also became aware that it wasn't just me that had the hidden histories. There were a lot of other women around me that had hidden histories that weren't counted into the development or the evolution of the culture and I wanted to tackle that subject as well. When people say, “oh, we've never heard of you”, it’s because you're not included in the story. It was important to me to put a story there to create some kind of balance or be a counterbalance to all the other books that didn't mention and all the other books that didn't talk about this particular thing.

Another key factor was writing and working through the pandemic. Nobody is talking about the pandemic because it has only just happened. I wanted to talk about how we, as people and as creatives, dealt with the pandemic. As the events and hospitality and as the industry had to deal with the pandemic; the rules, the regulations, the financial implications, all of that. There are two chapters that really talk about what happened and how we came out of it. It's a really strong Manchester story because we were kind of the guinea pigs for the government with all of the rules and regulations. It also talks about the limitations, not earning any money, not getting any support and it talks about mental health.

In the book, you have spoken to a few very influential women from the industry.

A lot of the time women work for companies where it's like “maybe they'll do it one day” or “maybe one day I'll get the award”. This is why my book is really throwing a brick through that window. We as women have to stop accepting that being written out, not getting our flowers is okay. It’s not okay.

I decided to talk to a big group of my peers (Jamz Supernova, Jaguar, Caroline Prothero, Lakuti, Marcia Carr, Gladys Pizarro, Judy Griffith from fabric, DJ Colleen Cosmo Murphy, Sophie Bee, the creative director of the Warehouse Project, Eruica McKoy, NIKS (from Black Artists Database) a lot of very successful women. I found out about what their experiences and challenges have been (working in the music industry) and lots of things became apparent. There are ways that women are treated in the industry that just don't happen for men. Men never have to think about certain issues; about how they are promoted through the industry or how they are always going to have to knock the door down.

I wanted the reader to hear other voices and not just have the words pouring out of my mouth.  It's not just my experience that you get to read in the book, you get to read lots of other people's experiences. We sat together and discussed the frequently asked questions that we always get when we're interviewed; is it difficult being a woman, a female DJ, you know, the gendering of the job?

Why is DJing even gendered? We all do the same things. We use the same USB sticks. We use exactly the same equipment. There is no reason why this job should be separated into male and female DJs. We are all DJs but we are not paid on the same level. We're not given the same billing. We're not given the same breaks, even when it comes down to branding and sponsorship. We're not given the same opportunities or deals.

There's the other side of it where biological and physical things can happen for women that can signal the end of their career. Pregnancy, breakups, menopause, ageing. For some reason, 40 seems to be the cutoff where women start suddenly not getting any work anymore, whereas guys can work for their entire life without really having to think “Am I over the hill?” You know?

It views that aspect, through a lot of other women's eyes. And one of the things that became clear is that ageism is a really annoying factor. People just don't like successful older women. I mean, Madonna has it, (you know, she's in her 60s and people are still trying to say she is too old, should stop and isn't relevant). It's like hold on a second. Why isn’t Madonna relevant? Because Piers Morgan says so? A white cis middle aged straight man? How many column inches are wasted on trying to say that this woman is not relevant after 40 years smashing practically every glass ceiling and leaving a legacy that every newcomer somehow uses as a blueprint. She has spent years in the music industry breaking barriers, waving the flag for LGBTQ+ rights before anybody else did it. What is wrong with people?

Amelie Lens has had a very public pregnancy whilst simultaneously deejaying. And yet, the initial blowback on social media was misogynistic and disgusting. It's like, where does anyone think they came from? How can seeing a pregnant woman in front of the decks be disgusting? How do any of us even get here? Do you think you came from a spaceship? Then there's the other side of it. Are people just going to consider her a mom now. Is she different? Is she going to be treated differently? Of course you are going to be treated differently by your fans because it does suddenly change your status. A lot of your male fans might suddenly find you unattractive because you've had a child. Now you're a mature woman not a party girl.

It was important to have this conversation with Jamz Supernova. It was important to have that conversation with Marcia Carr, Kath McDermott and Colleen Cosmo Murphy. They can tell you the truth about how sickness overtook them or how agents wouldn't book them.

It's really interesting to talk about Jamz’ case because it gives us hope that there is a way through it. It's easier now than it was for Colleen Cosmo Murphy and Marcia Carr when they literally had to stop work for three, four years while they reared their children, whereas Jamz has gone straight back to work. It's interesting hearing them discuss what that journey is. The book talks about all of those things and the psychological impact of going through that and the push to come out on the other side.

How do you feel about the support and recognition you've received?

In my 30 year career I have managed to get two gold records and four awards. There's loads of people that have got way more than me, but then there's loads of people that haven't got one. So I should enjoy and celebrate winning those awards and gold records. In the first DJ magazine top 100 poll in 1993 (which wasn't voted before by the public, it was voted for by the editorial team), I was in the top 100. I totally forgot that until Carl Loben reminded me. People asked me why I became the DJ that I am. And that was actually part of it, suddenly my career as a local DJ from Manchester went national then international.

Then in 2022, getting a lifetime achievement award was massive. No woman has ever won it before. No Black woman has won this  before. All the other people that have won the Lifetime Achievement Award are male.

And this year (2023), the winner was Carl Cox. So I'm kind of up there with a lot of people who I really look up to in the industry. In France, I won two awards and was nominated as the best DJ in the country and I won alongside David Guetta and Avicii. I've won a lot of awards for doing what I do. Consequently, it's another reason why I have continued to do this job that I have been publicly and professionally recognised at every step of the way for the work that I do. And for how I've inspired people and how I educated people through music. 

In your three decade long career, you've navigated through the highs and the lows of the music industry. How did these experiences shape your perspective on the industry, especially concerning issues like exclusion, misogyny, racism, and classism, which you confront in your book?

I've managed over 30 years to forge a career with the help of a lot of amazing people - Giles Peterson, Dave Piccioni, Caroline Prothero, Defected Records, Simon Dunmore - I've had a lot of people backing me overseas like Radio FG, Nervous records and BBCM in Montreal.  I've never talked about that. In 2018 I did an exhibition at the Lowry art gallery in Manchester and it was fantastic -they had 6000 people through the doors. It was one of the most successful gallery interruptions, and I talked about some of these issues. The racism, the sexism, but it was in a very soft form, and I didn't have the hashtag, BLM (Black Lives Matter). I was really not able to be fully open about the bad experiences I've had in the music industry until 2020, when George Floyd was murdered. 

I didn't have the voice to say, “Hey, you know, we're being passed over. We're being left out. Promoters aren’t booking us. Advertisers aren't using us, TV and radio isn’t using us”. I didn't have the vocabulary for it. But then as we hit 2020, and everything happened with George Floyd, all of a sudden there was an openness, because we were in lockdown. People were a lot more focused and a lot more open about listening to what had been going on. And people were thinking, how can we come back from this? How can we make this right?

I think my experiences in the music industry suddenly snapped into a sharper focus. I was able to articulate what had happened for me in a clearer way. Suddenly, the bad experiences became learning experiences that I could put down the well.

I did an interview a couple of days ago and they said they felt that I'm really angry in the book. I'm like, I'm not really angry. But actually I'm allowed to be. Wouldn't you be, if this had happened to you? Wouldn't you be if you realised that you weren't getting any work and neither were your sisters or brothers? We were all being left off / dropped from (artist) rosters. We were all being left off the lineups and we couldn't say anything. So it addresses all of those issues.

Even though those things happened, I don't come away with the ‘oh my god, everything's so bad and I detest the industry’ bitter complex. I'm not that kind of person. I take those experiences and think “how can I fix this” or “how can I work within this industry”. How can I navigate it in a way that I'm not just sidestepping it, or stepping over it or going around it? I'm saying, this is here. And this is how I'm going to deal with it. I'm going to make sure that people know how to remove those barriers, because I can't do that alone. Somebody on the inside has to help. This is the problem with systemic issues. It's the structure we need to change, not the people.

How did you find the resilience and passion to overcome challenges, and what kept you motivated during the toughest moments of your career?

I've talked a lot about what the challenges were, but don't get me wrong. I have had an incredible journey. I've enjoyed every second of it. I think that's probably also the reason why I've been doing it for 30 years; it is because I absolutely love it. I've always said to myself I will stop when I have no enthusiasm. I will stop when I don't like it. That's why I don't work in PR anymore. I hated that job in the end, so I stopped doing it. I'm good at it, but it really wasn't for me, I didn't enjoy the culture.

But music, DJing, performing, doing radio, sharing new music with people. I absolutely buzz off that every day when I get to play music, whether it's on the radio or in front of a crowd, one person 10 people 10,000 people. I love playing and sharing music. If I'm in a room with two people and we're exchanging “Oh, have you heard this? Have you heard that? What about this?”

Music is my absolute life. It's my lifeblood. It's coursing through my veins, it's in the DNA, it has everything to do with who I am.

And that in itself makes the experience just incredible. I've played music all over the world. I've been to Africa, America, South America, Asia, Bangkok, Kuala Lumpur, India. I have played music to 1000s of people in Paris on the Champs Des Mars overlooking the Eiffel Tower. I’ve had some mad experiences. I've had people queuing for gigs for me like Beatlemania, when I was in Paris (nobody knows about those years but I was absolutely at the top of the game, playing alongside all the heavy hitters). I've met and worked with some phenomenal people. I started off working at the Hacienda and last year I played a B2B with The Blessed Madonna at Homobloc and I still absolutely love it. For people to pay for me to go and play music in front of crowds who pay to come and see me?. I mean, that’s the maddest, most beautiful job.

I am doing something I absolutely love, so you can imagine when we hit lockdown, the impact of that on anybody's head. And the thought of losing that was just like, You know what? No way. Absolutely no way that's happening. So then the streams came; Boiler Room, Glitterbox, DJ Mag, He She They, United We Stream, Hacienda. I didn't do any “|little in my bedroom streams” for a reason. I did the streams for big organisations that were doing it properly, that were paying the artists, that were paying PRS (Foundation), that were raising money for charities or benevolent / harship funds. I worked for the people who were trying to keep the industry together and not just trying to keep themselves going.

Even though I was going through a really bad time in my life, it was also having a really good time. The memories coming through lockdown, specifically of those streams, were really good and they helped to lift me up. I still get stopped in the street by people who are still watching my Glitterbox streams, or repeatedly watching the Stream GM livestreams and say “You don't realise how that impacted me". You don't realise how that helped me”.

The message through the lockdown was how music heals. Playing music is one of the key things for community and for mental health.

It’s eight years since I've come back to Manchester (I got here in 2015): in the beginning I didn't know anybody at all. And in seven years, I’ve got to meet a wonderful community, meet people like Neil (Clampdown Records), Sophie Bee, LUKE UNA, Chris Massey, Amy Wainwright, Gina Breeze, Kamila Rymajdo, Sno, Mr Scruff. I've met such a phenomenal community of people who every day are trying to get music and their creative ideas out into the masses and keep it there.

What message do you hope it sends to aspiring DJs? Especially those who may face similar challenges as you did?

First of all, I say that I forgot that I was in the top 100. I really did forget it and I didn't take it as seriously as maybe I should have. Or I didn't take it as seriously then as people take it now, because, I didn't know what I was doing when I started this. I didn't even have my own decks. Now, it is more of a business.

So the advice I would give to people is take it as seriously as you need to take it. If you want to make a career out of it, make a career out of it, but be very focused about it. You can be giddy and you can enjoy it certainly, but have a plan and ask for help, which I didn't do. Always ask for help. Find your tribe. Build your team.

I've learned that everyone that's in the top 10 of the DJ Top 100, really wanted that #1 slot. They said “I want to be the number one” and started out with that in mind. They had a goal. I say, maybe you don't want to be number one, but definitely have a goal, have a point where you can hit that mark. Get people on your side who can help you to get there and who will talk about you. Even if you haven't got an agent and you haven't got a manager, you need people around you that are going to support you and help you to ascend through the ranks. That is the difference between people who don't get in the charts and the people who do. Build a team around you that supports you and helps you to realise your dreams. Find those people.

What are your best tips for any person that wants to enter this industry?

The most important thing, and I get asked this question all the time, even in 2023 I get stopped by women men or non-binary people. How do we do it? How did you do it? And the most important thing more than anything, is just do it. I didn't know how to DJ when I first picked up a record. I didn't have the equipment. But it didn't stop me. It really didn't stop me going to a club and putting a record on in front of people.

And don't be afraid of making a mistake. Everybody makes mistakes. That's how we learn. I've learned how to DJ by making mistakes.

I learned how to present on radio by making mistakes and even last night I made a tonne of mistakes (I learned that I shouldn’t mention brands on the BBC). You should always be prepared to make mistakes and be prepared to learn. Never stop learning. If you want to produce, there's a tonne of tutorials on YouTube. And if you need to throw away the instruction booklet, I believe DJ Pierre never read the instruction booklet which is why he could make the machine do what it had never done before. J Dilla as well. He threw away the instruction booklet and just figured out his way into it himself and created a sound for himself.

Find your own way into it. There are a tonne of courses, a tonne of academies, physical and online. Those colleges will educate you to work within the music industry so book a course, go to college if you can afford it. If you really can't afford it, there are enough free tutorials for you to follow. Get that information in your head and then just go out and do it. Push yourself forward.

What so you want people to take away from your book?

It's not a dark story. It's a very positive, uplifting story. It's a celebration of what it has taken to go through life with the evolution of the electronic dance music industry, with the evolution from vinyl to USB, with the evolution from there being no female DJs to being more female DJs, with the evolution from having no internet to (the industry being) really internet led. The changes and the evolution of the industry and the positive developments of it.

What I want people to take away from it more than anything is that they should get involved, be as involved and engaged with it as I have been for the last 30 years and thus help it to continue. I want people to realise there are no rules and it is never too late. If nobody new (young or old) comes along, it stagnates and then we are in trouble. So I want people to join in. I want people to go “yeah, but I want to do it this way”. Or “what if we do it that way”. If they can think of a new way to do it, do it that way, be the new breed, you know, be the new blood. I want to encourage and inspire people to take what I know and run with it. Go harder, better and faster.

• Interview by ninakeh for shesaid.so

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More about DJ Paulette’s book ‘Welcome to the Club’

DJ Paulette’s Website

“Welcome to the Club” out January 23, 2024

Links to pre-order

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Member Spotlight #045: Nikki McNeil

With over 25 years of experience in the music industry, Nikki McNeill is the founder of Global Publicity which specialises in worldwide PR and communications for music, festivals and events.

Nikki is passionate about the global music scene and only works with clients she truly believe in, giving her an authentic voice that rises above the rest. Having earned a reputation for hard work, honesty and professionalism, she is dedicated to achieving the best results with campaigns that cross borders with clients including Amsterdam Dance Event, A Greener Future, ESNS and Night Time Industries Association.

Nikki co-runs shesaid.so Brighton with Shino Parker.

How did you get your start in music?

I knew I wanted to work in the music industry when I was at secondary school and  I did a few work experience placements at a local radio station called Chiltern FM and Sony Music. After I left University, my first job was as a receptionist at V2 Music as I couldn’t type fast enough to be a PA so that was the only route to get started when I started out. I am really glad things have moved forward and there are more opportunities for young people get started in different parts of the industry.

Describe a day in your life as the founder of Global Publicity.

A day in my life of my work probably isn’t as glamorous and exciting as many people might think.  The majority of the time I am sat in front of my laptop with 50 plus tabs open 24/7.  When I’m working at an event it is the complete opposite and it's like a whirlwind where your feet don’t touch the ground. I am mostly running around making sure I am supporting the team to get everything done and also making sure all the media are happy, enjoying the event and getting what they need, whether it’s interviews or photos or their transport to the airport.. 

Having founded Global Publicity in 2007, what inspired you to take the leap and start your own venture, and how has the company evolved since its inception?

I’d never thought of working for myself, but quite a few friends and colleagues suggested that it would be a good idea and that I could do it. It took me a while to believe in myself and go for it, but it’s probably one of the things I am most proud of as I have now been running my own business for 16 years.

At the start, I worked on campaigns for artists and events, but over the years I have gravitated more towards events and festivals as I love music and travel and experience new places and cultures.

I have always loved working at industry conferences and supporting the industry. During the pandemic, that feeling was compounded when I was able to work with the Night Time Industries Association and use my skills to help the industry even more.  It gives me a huge sense of satisfaction to be able to help others and be part of campaigns that help and support the industry I love being part of.

Can you describe a project you worked on that you are particularly proud of, and why it was important to you?

It’s hard to think of a specific project that means a lot to me as I only work on projects now that I really believe in as it makes me happier working with people and on projects that I like  and am passionate about, which then also gives you a much more authentic voice if you are working with clients you really believe in.

I think I would say my work with the Night Time Industries Association, as I fell into it by accident by wanting to help and support the industry during the pandemic and it showed me that I could really help make a difference. One of the campaigns I worked on was the #letusdance campaign which enabled businesses in the electronic music sector also apply for CRF funding. It proves that when the industry comes together, change can happen for the better and it feels good to be part of a team who are so passionate about supporting the industry.  I have learned a lot from the team at the NTIA and when you can continue to be inspired and learn in your work that is also very fulfilling and give you a strong sense of purpose. 

Given your extensive experience in the music industry, what significant changes do you foresee in your area of specialization in the coming years? 

The music media landscape is constantly evolving and changing with many print media publications lost over the years. More recently though, there has been a trend of some print editions coming back such as The Face, Rolling Stone, Disco Pogo etc. It’s really hard to predict but there has also been a rise in paid for deals for coverage and it feels like that will continue to rise as media need marketing spend to survive.

There is a lot of talk about AI and how that will impact PR in the future as it can be used to help with press releases and reports and tracking coverage as well as historical data analysis, tracking market trends etc.

As someone who has played a role in promoting international events and festivals to a global audience, what strategies do you find most effective in creating a significant and lasting impact on a worldwide scale?

Press trips are still very effective as they enable journalists to experience the event first hand and take in the atmosphere, meet the local people and learn about the local music scene and culture etc. Giving them unique experience they will remember forever is still very valuable.

Considering your success in the music industry, what advice do you have for aspiring professionals looking to establish themselves in a similar career path?

Work experience and mentor programs are the best way to get started as you will get valuable experience, but also make real life connections. Be brave and attend networking events or talks and workshops too as you ca also meet new people there and find job opportunities.

3 values that guide your life

On my company website I have included the words ‘being honest and professional are important to us’, as these are values that are important to me. There is a lot of bullshit in the music industry so it is important to me to be respected and trusted. So I suppose the most important values that I follow in life are integrity, hard work and loyalty.

Your top tips for staying grounded on a challenging day

If I am having a challenging day I would get in touch with a valued and respected friend or colleague for advise. My networks are priceless for support and I am lucky with the connections I have built up over the years that I have some amazing people who are always there for me. I would advise everyone to build a good support network around them of trusted friends and colleagues.

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Music Insider: Janice Wang

Janice Wang is the VP, Partner Acquisition and Success at Venice Music, a music company that provides independent artists a global distribution platform and essential resources to build their career. From the beginnings at Venice Music, Janice collaborated with the technology team to build and refine the distribution platform, signed the very first artists and labels to Venice, managed commercial partnerships, and spearheaded international streaming.

She now leads A&R, artist and label partnerships, and corporate partnerships at Venice Music. Janice previously managed artists at Quincy Jones Productions (Dirty Loops, Jonah Nilsson, Clark Beckham, Eli Teplin) and Atom Factory (Kamasi Washington).

Janice's passion for music reflects through her continued commitment to guide and empower artists in their entrepreneurial journey, so we can collectively leave a lasting impact on the world through music.

Describe a day in your life as VP, Partner Acquisition and Success

Each day is different! But what excites me is listening to music, providing guidance and ideas to artists/artist teams, and engaging with the variety of music communities and organizations looking to educate and elevate artists in the music community. Bringing feedback from our partners back to our team helps to ensure we address the needs of the community we're building for and are constantly improving. Anything that allows me to help contribute to the growth and success of artists is a fulfilling feeling.

How did you get your start in music?

Before even getting into the music industry, I'd volunteer to help with artists' merch at their show when they were in-town. Being at live shows always showed me the profound impact music has on individuals. From these events, I was determined to pursue a career in working with artists to be a part of this beautiful human experience and an internship was my first step into the industry.

3 values that guide your life

1. Honesty - as it builds trust and open communication.

2. Kindness - treat people as you'd like to be treated!

3. Perseverance - there will always be ups and downs in life, but moving forward allows for growth and continued success in the future.

Tips for staying grounded on a tough day

Recognizing what a blessing it is to be a part of this incredibly diverse industry, collaborating with talented artists, creative thinkers, and business professionals on the daily. Focusing on the positive helps shift perspective and reminds you to look at the bigger picture.

Tips for anyone that wants to get into your industry

Make genuine connections while you network. Show people who you are, your interests, and what sets you apart. Offer recommendations and highlight how your passion and skills can add to the team! One piece of advice you'd give your younger self Celebrate the wins along the way, both big and small! It's easy to be caught up in the day-to-day, the hustle and bustle of the business, but these celebrations will become cherished memories. Enjoy the journey as suddenly you'll look back and another decade of life has flown by!

Venice Music is offering our members a 20% discount of their ‘Essentials, Grow+ and Pro’ services for the first year of the membership. This is a great opportunity to get your / your artist's music distributed, sync licensed, and strategically promoted by a team of experts.

shesaid.so members and allies can access the discount on the Community Hub.

Member Spotlight #44: Jennifer Justice

Hi, I’m Jennifer Justice, Founder & CEO of the Justice Dept, Host of Takin’ Care of Lady Business Podcast.

The Justice Dept is a Business Strategy & Business Development Consulting Firm and a law firm which represents female-founded companies, female executives and talent to help them maximize their wealth and increase their value. More money in women’s hands, means more choices and freedoms for everyone. I spent 17 years solely in the music industry as a music attorney representing everyone from Mark Ronson to Jay Z to Beyonce as their entertainment attorney and as an executive at Roc Nation from its inception. I had a passion for gender equality and decided to take everything I learned from a business, strategy and legal angle and help women get rich.

Describe a day in your life as a founder

6:30 am

I have a very busy morning because I'm hosting around 60 women for an investor breakfast for one of my clients, West-bourne. West-bourne was born to create a go-to brand for plant-powered and planet-positive pantry staples like granola, avocado oil, pancake mixes - with the least impact on our environment. I need to get ready, look presentable and still get my children up and get them to school - all without making an entire mess of my apartment. 

7:15  AM

I'm showered and ready to go. Now it's time to get my children up and ready to go. Start making them breakfast. The easiest is possible. Smoothies (packed with everything they would never eat) and Croissant toast - it’s a thing. I also start making my kids lunches, but I'm careful not to mess up my kitchen since my kitchen island is full of about 60 bottles of avocado oil from West-bourne, as well as all their other amazing items such as their coconut Crumble and house granola. 

8:20 AM

I start reminding my children over and over and over (my 10-year-old boy/girl twins Jack and Nico) and over and over and over again - to put their shoes and socks on, brush their teeth, and grab their backpacks because we need to get out of the house

8:26 AM 

Out the door and on our way on the three-block walk to their school.

8:40 AM 

Camilla Marcus, the founder of West-bourne, arrives along with some other early arrivals.  

9:00 AM

A cavalcade of stylish, impressive and successful women start entering the apartment. Each grabs their cold brew and begins tasting all the amazing food provided by West-

bourne.

9:45 AM 

Introductions begin. It is an amazing event and so well attended beyond our expectations. We begin the Q&A and everyone has such amazing questions and tips to add about a product line and sustainability that it blows us away and the excitement around the brand is beyond our wildest dreams.

10:45 AM 

People slowly start trickling out, and my kitchen island that was once devoured by all the products, is now empty as everyone is excited to try everything that West-bourne makes. We take the last few selfies/photos so everyone knows we were there of course which include tote bags from my podcast, Takin Care of Lady Business.  

12:00 PM

Call with my editor regarding my upcoming book, my companion piece to Takin Care of Lady Business: How to Build the Matriarchy. I have a lot of work to do on it and a lot of follow-up from some guests but I'm excited that it is moving forward as quickly as it is.

1:00 PM

Time to record a podcast episode for my podcast, Takin Care of Lady Business, with the amazing Rebecca Minkoff! She of course nails it in less than the time allotted and realize she will be my 100th guest!

2:00 PM

Finish up some time-sensitive work for my clients’ Salt N Pepa – they have a big well-deserved deal coming up and has taken a lot of time and attention. Then on to phone calls and Zooms for the next three hours with clients.

5:30 PM

I am co-hosting a women-only dinner with UBS and The Justice Dept to introduce women in all different spheres of life to each other – you know, how the boys do it. We get the private room at Hancock Street, and the guests start arriving. It’s women in all areas in Venture Capital, founder of Caulipower brand foods, female executives wanting to learn angel investing and some who are looking for career changes – all in different industries.

9:00 PM – Dinner is finally over, and go home to kiss the kids and wind down for bed. It’s been a very long day.

How did you get your start in music?

I started in the music industry as a music attorney at the then-newly formed law firm, Codikow, Carroll, Guido & Groffman, LLP. Elliott Groffman had left the all-male (still to this day – no female partners) law firm of Grubman Shire Meiselas & Sacks to join

Rosemary Carroll, Michael Guido & David Codikow. I was a junior associate, and the first client I was asked to work on was a then-unknown JAY Z. I was tasked to clear the sample for the composition “It’s a Hard Knock Life” for his new song “Hard Knock Life” for his album Vol. 2: Hard Knock Life. From there, my career in music and in hip hop in particular, only grew.

I made partner in three years and amassed more amazing clients, from Mark Ronson to Method Man to Slipknot and Juliette Lewis. At the same time, I was representing executives that were negotiating their employment agreements with their respective employers. In one negotiation in particular, I was representing a female Senior Director for Universal Music Publishing in A&R named Rebecca Wright (she tells the story too and approves of me telling it too!). She had signed some big songwriters and made the company real money. Yet, they only offered her $90,000.

What was more infuriating is that I had just negotiated the deal for the Director, a level below Rebecca, for a man that hadn’t signed anything real to UMP yet, and he was offered $130,000 right off the bat. Needless to say, I pointed this out to UMP and instead of doing the right thing and increasing her salary said things like, “She’s fine with it, why do you care?”, and my favorite “Her husband makes a lot of money so she doesn’t need it”. You cannot make this shit up! They ended up giving her only $10,000 more, and that started my crusade to end the gender pay gap and the gender wealth gap.

I stayed at Carroll, Guido & Groffman (the name had changed by the time I left) for 11 years total after negotiating Jay Z’s deal with Live Nation. I went to Roc Nation as one of the first employees in 2010 as the General Counsel. In a matter of a few years, we grew the company and the value of Roc Nation exponentially. I was then promoted to EVP, Strategic Marketing & Business Development, where I helped other artists on our roster leverage their passions and community to build solid businesses outside of music.

During this time, I became a single mom by choice to boy / girl twins because of course I wasn’t busy enough. When they were about to start school, I decided to leave Roc Nation and figure out what was next for me – I had been working with Jay Z for 17 years at that point. I needed a new challenge. My passion for gender equality had only grown but I needed more experience outside of my comfort zone so I became the President of Corporate Development at Superfly – the live experience company known for creating Bonnaroo and Outside Lands. While there, I expanded my capital-raising abilities and my network of players in that field. I learned a new vertical in a creatives journey.

However, I was still making money for men by day and trying to overthrow the patriarchy at night. So when my three-year contract was coming up, and they didn’t need me anymore, the seeds of the Justice Dept were planted. So many women had come to me asking who they could hire as an attorney that understood them? Who could help them raise money or build their female-founded companies that understood their journey? Who could help them grow and hire the business people they needed they could trust and took them seriously. Thus, the Justice Dept was born! Our sole mission

is to make women rich so they can make the choices they deserve to make for themselves. We have never lived in a time of conscious capitalism – what happens when capital is in the hands of the others? Only one way to find out!

A woman/role model you admire (could be alive or dead)

I get asked this a lot and I can never choose just one. I admire all of us – what we do every day to get thru the day as women, mothers, wives, daughters, friends, employees – we deserve to be celebrated every day. We are all superhuman.

3 values that guide your life

I value having a stand and speaking up – advocating - especially now for women. Silence is complicity in my book.

I also value perseverance and loyalty.

Tips for staying grounded on a tough day

I allow myself to acknowledge it, give myself a break, stay off social media and know it will pass.  Tomorrow’s another day and we have work to do. Quitting isn’t an option.  

One piece of advice you'd give your younger self.

Believe in yourself, bet on yourself and trust your instinct. No one truly knows your strength but you. Embrace being underestimated. You are worth every dollar and at least 30% more.  Your words are important, your voice matters and the more we hire each other, buy each other’s products and invest in each other’s companies, the more those words and voices will be heard! 

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Connect with Jennifer:

Website: https://www.thejusticedept.com/jennifer-justice

Podcast: https://www.thejusticedept.com/takingcareofladybusiness

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Member Spotlight #43: Adel Hattem

This month for our Member Spotlight, we are thrilled to feature Adel Hattem; the CEO and Founder of DMusicMarketing, an agency that develops both non-Latin and Latin talent in the Latin American market. Based in Miami and across Latin America, DMM offers efficient, dynamic and all-encompassing solutions to its clients in order to overcome and conquer the intricacies of the region. 

Adel is a bicultural marketing specialist with 25+ years of experience in the music industry. She has held senior positions with industry giants - she worked as Marketing Director for Universal Music Mexico, Vice President of Marketing for Latin America at EMI and Marketing Manager at BMG Entertainment- before founding DMM in 2013. While working with the majors, Adel helped develop and set a footprint in the market for talent such as Arctic Monkeys, Placebo, Coldplay, Robbie Williams, David Guetta, Norah Jones, and Katy Perry. 

With DMM she now works with renowned labels like the Beggars Group, Domino Recordings, Ultra, and the Secretly Group, and has a diverse portfolio of artists such as Björk, Franz Ferdinan, Idles, Radiohead, Helado Negro, Ela Minus, The National,  The XX, Bon Iver, Interpol, Sharon Van Etten, Steve Aoki and Jungle among others. DMM has seen exponential growth in the last couple of years with a local team in Mexico, Brazil, Colombia, Uruguay, Argentina, Peru, Ecuador, and Miami. DMM continues to expand as new clients arrive, eager to explore and discover their impact in the Latin American region.

My name is Adel Hattem, I am the founder of Dmusic Marketing. I am originally from Mexico City and have been in Miami for 15+ years. 

A typical day in my life as the founder of DMM begins at 5 AM with an invigorating hour of Kundalini yoga. Following that, I prepare school lunches and accompany my teenagers to school. Three days a week, I prioritize my physical well-being by engaging in a workout session from 8 to 9 AM.

Once 9:15 AM rolls around, I kick off my workday. This entails a series of Zoom calls involving clients, media representatives, DSPs,, as well as virtual team meetings with our diverse team of 15 professionals situated across Latin America. Throughout the afternoon, I dedicate myself to answering emails that have accumulated throughout the day, while also staying in touch with our promotional team in Mexico and tending to clients based in LA or Australia.

As the evening approaches, my work pace gradually slows down, at this point, I shift my focus to preparing dinner for my family, enjoying the precious moments spent with my husband and children. Following our evening meal, I find solace in winding down with a book. 

What are some tips for getting a first job in the music industry?

Resilience and perseverance were key factors that played a pivotal role in my journey towards securing my first job at a label. Following the initial job interview, I demonstrated unwavering determination by consistently following up, effectively showcasing by passion and commitment to the industry,

Can you name a few women you admire?

I admire all the women in my life and all the women I know. I can see in each of them the success they have achieved and the challenges they overcome. I see the success of one is the success of all, and I believe that if we support each other, we can become the best version of ourselves. The teachings of one of the women that helped me in the past ten years (especially when I started my own company) are still very relevant and helpful in my daily life, although she passed a few years ago. I find particularly admirable her ability to blend ancient spiritual practices with modern technology and culture. She has been able to create a community that is inclusive and welcoming while also pushing the boundaries of what is possible in terms of personal growth and transformation. She has been a vocal advocate for women's rights and gender equality, both within the yoga community and beyond.  I also admire my mother in particular. I am forever grateful for the inspiration my mother has provided through her resilience, unwavering optimism and tireless work ethic. Her love and support have been instrumental in shaping the person I am today. 

What are some values that guide your life?

I dedicate myself to fostering an environment of empowerment and collaboration, constantly striving to provide support to my team. In my view the concept of competition pales in comparison to the value of constructing a community rooted in transparency and honesty. 

Do you have any tips for staying grounded during the day? 

• Deep breaths.

• Meditation, good diet, a good sense of humor and good people around you.

• Separate work from homelife, don’t take everything so seriously.

• Positive thoughts - even when life seems impossible always look at the positive.

What would be a piece of advice for younger self?

Don’t overfill your schedule or workload. Work a little less. Enjoy time and the present. 

Do you have a favorite song to wake up to?

Wake Up Boo! by The Boo Radleys.

What would be your most memorable experience whilst working in the music industry?

I have had so many incredible and memorable moments seeing emerging artists grow, fans using music as a healing tool and seeing executives grow and develop. One of the most memorable experiences in my life so far was rising above the gender expectations of my ex-superiors and colleagues from my last corporate role by starting my own business as a mother of three. I was told that I should no longer be working as I had children, and I wanted to prove to my own young kids at the time, that you can create your own reality. That if you love something enough and you dedicate yourself to it, you can achieve anything.

Connect with Adel on LinkedIn and check DMusic Marketing HERE.

Read more about the shesaid.so Miami Chapter and sign up HERE.