Music Insider

Daphne Oram Centenary: The Overlooked Pioneer Who Shaped Electronic Music and the BBC Radiophonic Workshop

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Daphne Oram giving a presentation at East Surrey College. Red Hill in 1980 - Photo Credit Keith Harding

2025 marks the centenary of Daphne Oram, the electronic music pioneer who co-founded the BBC Radiophonic Workshop and invented the Oramics system, one of the earliest graphic sound technologies.

To honour her legacy, nonclassical has partnered with the Oram Trust and the Oram Awards on vari/ations – Ode To Oram, a new compilation built entirely from Oram’s archive: more than 280 tapes recorded between 1956 and 1974, including material that has never been publicly heard before.

The release brings together leading and emerging electronic artists—TAAHLIAH, Marta Salogni, Deena Abdelwahed, Arushi Jain, Nwando Ebizie, Lola de la Mata, xname, afromerm & abi asisa, among others to create new works shaped directly by Oram’s sounds, processes and ideas.

Alongside the album, a live performance at the Barbican on 4 December, where composers worked with Oram’s original reel-to-reel tapes, custom-built instruments and the Mini Oramics machine. The centenary programme has also included a UK grassroots tour produced by the Oram Awards, supporting women and gender-expansive artists and expanding access to electronic and experimental practice.

For this Q&A, shesaid.so speaks with The Oram Trust as well as contributing artists Nwando Ebizie, Lola de la Mata and afromerm, to explore the archive, the creative processes behind the compilation, and what the “next step” for Oram’s legacy looks like in 2025 and beyond.

When you revisit Oram’s archive today, what aspects of her thinking or methodology feel most radical or forward-looking?

Her music continues to sound unique in terms of pure timbre - no one else sounds like her. I think this underscores the fact that Oram wanted to create new sounds as well as new ways to compose with them.

his is a tendency that lies at the heart of late 20th century music making, both avant-garde and popular, and something first made possible with post-war tape recording technology. 

Several recordings in the archive are being heard publicly for the first time through this project. Can you share which specific tapes or sound materials have been newly opened up?

In terms of the archive, Sarah Angliss and Ian Stonehouse sifted through a huge range of material for this project, including source tapes that were used to make final mixes. So, a lot of what you are hearing are individual component sounds used to create finished pieces, both commercial commissions and her own experimental explorations.

These sounds haven't been heard before in this form, whether it be a test recording of a theme played on the Oramics machine or a sound effect for a headache tablet.

The compilation brings together established and emerging electronic artists interpreting Oram’s archive. From the Foundation’s perspective, what feels significant about the range of voices involved in this centenary release? 

These radical, experimental and electronic artists have all approached Oram's archive  from different directions, often bringing their own lineage in electronic and electroacoustic music into conversation with Daphne's archive, offering fresh approaches to her work. Their variety of approaches reflects the curiosity, lateral thinking, inventiveness, and the polymath aspect of Daphne's work.

The Trust wants to continue this lineage and legacy, as it remains relevant – we are looking after her part in the conversation now, and maintaining her legacy into the future.

Daphne Oram and the Oramics Machine - Photo Credit: Fred Wood

The Oramics system was radical in its vision of drawing sound. How would you describe its significance today in the lineage of sound synthesis, digital interfaces and graphic composition tools?

You can read about its significance relating to other technologies here.

Many of the artists on the compilation speak about Oram’s philosophical approach to listening, perception and the body. How central is this dimension to how the Foundation positions her legacy today?

Listening and perception, and to some extent the body, are central to her legacy, yes.  

** Responses from The Oram Trust and the Awards, answered by Jennifer Lucy Allen, Ian Stonehouse and Karen Sutton.

Photo credit: Joby Catto

Nwando Ebizie

Nwando Ebizie is a multidisciplinary artist whose work spans experimental performance, music, neuroscience and African diasporic ritual. Drawing on her own neurodiversity, she explores perception, Afrofuturism and speculative worlds through research-led, immersive practice.

Her projects include the sensory environment Distorted Constellations, her pop-performance persona Lady Vendredi, and the long-term operatic work Hildegard: Visions. Her work has toured internationally, with performances in Tokyo (Bonobo), Rio de Janeiro (Tempo Festival), Berlin (Chalet), Latvia (Baltais Fligelis Concert Hall), Zurich (Blok), and major UK venues such as HOME Manchester, the Barbican and the Southbank Centre.

Working across media and genre, she creates interconnected mythic and scientific narratives that invite audiences to consider alternate realities and expanded states of perception.

When you revisit Oram’s archive today, what aspects of her thinking or methodology feel most radical or forward-looking?

The first most exciting element for me was engaging with her essay - An Individual Note. 

I was inspired not only by Oram's music, but by the way she lived, the way she dreamt and thought and drew together a theory of sound, electronics and what it is to be human. I wanted to draw all of these elements together into a sonic reality. 

I feel very at home with her conception of sound - she talks about not wanting to create an ‘inhuman sound with a clinical quality, lacking the possibility of subtlety and nuance’. For her electronic music should be alive and breathing. Listening to her sound palette - this really struck me - that everything was constantly moving, exploratory. 

Oram’s archive contains both highly refined compositions and fragments of pure experimentation. How did artists navigate the tension between honouring her sonic language and pushing it into entirely new aesthetic spaces?

I wanted to create a finished piece that was its own island in the world of Oram's Archive. So I wanted it to reflect the sounds and feelings whilst being its own piece of music. I was guided by these worlds from An Individual Note:

‘To visualise a human being in this way we would need a most wonderful mixture of fundamentals, harmonics and overtones, all subtly changing from moment to moment… a whole spectrum of resonate frequencies which are never at rest, never in a steady state, but are vibrant with pulsating tension.’

I structured the piece around this quotation - trying to capture the feelings within her words. Oram posed the question “What is the next step?” in An Individual Note. Looking ahead, what does the Foundation see as the “next step” for the Oram legacy creatively, technologically, or institutionally?

The next step continues on in her vision - drawing together modes of thinking and practice so that practitioners can better understand perception and creativity. Drawing together neuroscience, philosophy, engineering and art into new forms. Reaching into the future whilst reaching backwards into lost forms of knowledge.

Lola de la Mata

Lola de la Mata is a conceptual sound artist, composer and musician (theremin/violin/voice) based in Liverpool. She takes the anarchic being - the ear, as her muse, while tinnitus and aural diversity are at the core of her research practice, her quiet, teetering on the inaudible and imagined sounds emanate from self-made glass and metal instruments.

In 2024 Lola won an Oram Award and a Sound of the Year Award for her experimental debut album ‘Oceans on Azimuth’ released to much acclaim (The Quietus, Electronic Sound Magazine, New Scientist, BBC Radio 6, Crack Magazine), with broadcast on BBC 3, BBC 6, NTS and Resonance FM.

She has received commissions from the Riot Ensemble, Lisson Gallery, Zubin Kanga, Spitalfields Music Festival, and crafted soundtracks for experimental film, documentary and the award winning feature film STOPMOTION (2024) by Robert Morgan.

What kind of creative challenges or discoveries emerged from engaging with Daphne Oram’s material? 

At first I instantly recognised Oram’s signature, and although I knew I wanted to find a way to duet with her and meet her in her own sounds, I also didn’t want to ‘remix’ one of her tracks. I was after her in-between sounds, or samples which surprised me were made by her hand. The biggest discovery? Her echoing spring bass beats!

Oram’s archive contains both highly refined compositions and fragments of pure experimentation. How did you navigate the tension between honouring her sonic language and pushing it into entirely new aesthetic spaces?

I am often told my work is intense, I guess I tend to look in, sink into my body - but my aim is to be joyous, not make anything ‘too’ serious. In Oram’s archive I found a similar humour emerging from her playful approach to the iterative process and so the character of the piece emerged quite organically. Perhaps somewhat uncanny…dark pools, ghosty sounds - punctuated by Oram’s upbeat, bright voice and unexpected beats.

Oram posed the question “What is the next step?” in An Individual Note. Looking ahead, what do you see the “next step” of the Oram legacy, creatively or technologically?

More women and gender non-conforming artists developing technology perhaps?  Let's be honest, we're rebellious innovators at heart! By that I mean new instruments, be it analogue or digital - more tools as well. Plug-in companies and studio houses almost exclusively have men at the helm.

Wouldn’t it be fantastic to see the industry expand? I’m so grateful to Nonclassical for working with mastering engineer Katie Tavini (Weird Jungle). This is the way forward. 

afromerm

afromerm is the solo project of Oram award-winning composer and sound artist, Cecilia Morgan.

Her work draws from contemporary, jazz, and experimental disciplines, blending electronic elements with live instrumentation, field recordings, spoken and sung vocalisations, and her self-built motion-reactive instrument, Juniper, to create electroacoustic soundscapes that immerse us in the elemental mythology of her project. afromerm has been platformed by BBC Radio 1 (described as a ‘sonic innovator’), BBC Radio 3, NTS Radio and The Line of Best Fit.

Her live work has found audiences at the likes of Le Guess Who? Festival, London Jazz Festival, ICA and Cafe OTO. Composition credits under Cecilia Morgan span independent film, contemporary dance, theatre and fine art media, with notable clients including Tate and The Fitzwilliam Museum.

Working directly with Oram’s tapes, instruments and sonic gestures can be an intensely tactile experience. what kinds of creative challenges or discoveries emerged from engaging with her material in such a hands-on way?


Visiting Oram's archives was fascinating; the sheer volume of material was overwhelming. I was struck by her beautiful construction of language in her letters. Her description of 12-tone equal temperament as a "rectangular.

grid, imposed on an uncharted continent as a makeshift means of administration and surveying”, alongside the mountainous curvature of her hand-drawn Oramics slides, informed our approaches to pitch and form.

Oram’s archive contains both highly refined compositions and fragments of pure experimentation. How did you navigate the tension between honouring her sonic language and pushing it into entirely new aesthetic spaces?

We did a great deal of listening, but rather than sampling Oram's archive, abi asisa and I chose to interpret two Oramics slides as graphic scores, so our honouring of Orams sonic language was rooted more in process than material. Emulating the analogue uncertainty of Oram's work in a digital environment was a challenge that I addressed through the liveness/immediacy of my audio processing.

Oram posed the question “What is the next step?” in An Individual Note. Looking ahead, what does the Foundation see as the “next step” for the Oram legacy  creatively, technologically, or institutionally?

Daphne Oram interrogated what it meant to be a composer and foresaw what a huge impact technology would have on composition. The Oram Awards specifically is helping to both document and create a largely overlooked part of sound/music history, and like many of my fellow Awardees, my composition practice has been shaped heavily by the increasing accessibility of audio technology. I'm curious to witness how this might evolve throughout my lifetime.

Centenary Celebrations

The 31st December 2025 is Daphne Oram’s 100th birthday. This is a great opportunity to celebrate her unique contributions in lots of different ways. We hope that you will have an opportunity to hear some of her music live at various events of listen to recordings on some of the new releases out this year. In response to this Centenary year composers from the electronic music community are also producing exciting new compositions and performances that draw on the influence of Daphne Oram.

vari/ations - Ode to Oram by Various Artists / Daphne Oram is out now

Oram/100 Tour

Vari/ations – An Ode to Oram Thu 4 Dec 2025, 19:30, The Barbican Hall

There will be a free pre-concert talk with Arushi Jain, Lola de la Mata and Jennifer Lucy Allan at 6:00pm in the Fountain Room. Due to illness, Cosey Fanni Tutti is unable to speak at tonight’s pre-concert talk. Arushi Jain will be replacing her. Please note that the capacity is limited and seating will be available on a first-come, first-served basis. 

Stick around after the show for ClubStage performances from Lola de la Mata and afromerm + abi asisa.

Stage times:

6.00pm - Pre-concert talk in the Fountain Room
7.30pm - First Half
8.20pm - Interval
8.40pm - Second Half
9.45pm - Aftershow Clubstage performances

Info & Tickets

12 Dec 2025, St Vincent’s Church / Stockbridge / Edinburgh

Workshop & Performance Tickets via Hecate

Workshop: Improvised Music Tech Jam - Hosted by Luci Holland & Tinderbox Lab - more info to follow.

Performances: The Silver Field / Vocifer / Justyna Jablonska / Aurora Engine / Bell Lungs / SLY DIG
Panel Discussion: Luci Holland (Tinderbox Lab), Karen Sutton (Oram Awards), Dr John Hailes (Napier University) + more

Founder & CEO of EBONIX Danielle Udogaranya Presents Black Lines of Code

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Photo Credit: Ayo Oduniyi (A&O Studios)

For nearly a decade, Danielle Udogaranya — Founder and CEO of EBONIX — has reshaped how Black identity is seen, coded, and experienced across gaming and digital culture. Her work first took root in 2015, when her Afrocentric custom content for The Sims 4 offered Black players something they had rarely encountered in virtual worlds: themselves, fully and accurately represented.

What began as a community-led practice has since grown into a global creative-tech force, marked by partnerships with The Sims, Dark & Lovely, Samsung, Meta, Xbox, Sky, and Farfetch; recognition as an HSBC Top 25 Black Entrepreneur to Watch (2024); and invitations to speak or judge at SXSW, Afrotech, London Games Festival, BAFTA, D&AD, and more.

Danielle’s latest project, Black Lines of Code, expands that mission. The exhibition marks ten years of EBONIX and examines what happens when digital systems fail to reflect the full spectrum of Black identity and what becomes possible when Black creators rewrite the visual language of those systems themselves. Through immersive installations, playable experiences, and mixed-reality works, the exhibition spotlights the artists and technologists who have embedded Blackness directly into the architecture of digital space.

What is the core concept that Black Lines of Code aims to achieve?

Black Lines of Code aims to interrogate and reframe the presence of Blackness within digital worlds and culture, spotlighting the creatives who have challenged systemic absences in virtual representation.

By centering the work of creatives who have both imagined and enacted new possibilities, the exhibition seeks to expand the cultural lexicon embedded in algorithms, code, and immersive environments. It offers a critical space for reflection, celebration, and dialogue, bridging art, technology, and cultural identity to address the historic and ongoing erasure of Black narratives in digital worlds.

Black Lines of Code is a decade-long view of digital identity. For music executives focused on digital rights and artist IP, what is the most important commercial takeaway the exhibition offers regarding the long-term value of culturally specific digital assets?

I have a question for them. What transpires when the very mediums we consume fail to equip us with the means to author our own image, or to recognise ourselves in any substantive or affirming way? Identity becomes fractured.

It is so essential to provide meaningful, nuanced and intentional representation across all mediums, whether it be gaming, music, literature, film, in order to reaffirm the value a person builds around their sense of self as they establish their identity.

Thinking back to the early days, before EBONIX was formalised, how did you initially go about getting your start in this intersection of gaming and cultural technology? What was the first major industry door you had to kick open?

Interestingly enough, kicking down industry doors was never part of the plan. The key route I took was establishing a meaningful connection and relationship with my community. The people who EBONIX was created for.

I started out in 2015 with posting my mods on Tumblr, which gained a lot of traction within the Sims community, who finally felt seen because they had access to assets that were relatable to their lived experiences! It wasn’t until 2019 that I went full-time to pursue filling this gap, and started to live stream on Twitch.

By 2020,  I was the first Black British Woman in the UK to become a Twitch Partner and by 2021 the first Black British Woman in the UK to become a Twitch Ambassador. It happened extremely naturally and quickly, because I’d already established a community. The livestreaming space for BB women was (and still is) a sparse and aggressive place, but that definitely felt like my first introduction to an “industry door” that was kicked down, that did not allow us visibility to thrive.

Your work has fundamentally changed the landscape of Black representation in gaming. For music industry professionals, what is the most crucial, practical lesson they can draw from your experience?

Remain so unapologetically rooted to your “why”. I have referenced the woman in my community who approached me about what my work meant to her 10 year old niece. Noone can ever call to question what is important to me, because I make it so clear at every opportunity what my why is.

My why came before my what and how. It’s rooted in every opportunity I’ve taken. In every collaboration or brand deal I’ve done.

I never took a ‘no’ as a reason to stop. You’ll come to realise that  some no’s are blessings in disguise, because they redirect you towards what you’re actually supposed to be doing.

You operate at a high level, collaborating with global brands and judging major awards. What is your most effective strategy for networking?

Believe it or not, I was once one of the shyest people I knew. I had a friend who I’d call my “hype woman” because she’d big me up and I’d try to shy away from my truth. That I’m really someone making a difference. So, my most effective strategy for networking was walking in and owning my truth.

Once I took off the mask that I was trying to hide behind, that was a humbling version of myself, who was riddled with imposter syndrome, networking became second-nature. I’m my most authentic self when I talk to people.

But you have to also remember that, you’re networking with people that you align and have synergy with. Don’t waste time or energy if that isn’t there.

3 people that inspire you. 

Doechii, Murjoni (@mvrjoni) and… Black children who need reminders that their skin, hair and features are the most beautiful things in the world.

What are you listening to at the moment?

In preparation for the exhibition, I’ve been listening to a lot of jungle! When you really look into the history of some of the older music in games, it’s inspired by UK Jungle! So I’ve been listening to a lot of Natty Congo, Roni Size, Shy FX, Goldie etc. Most of the posts I’ve made around the exhibition will have that junglist sound to it!

And also, to calm my spirit, a bit of gospel. In particular No Greater Love – Rudy Currence, Chrisette Michele

Exhibition Details:

Dates: 11th – 20th December 2025

Location: Copeland Gallery, Peckham, London

Curated by: Danielle Udogaranya (CEO & Founder, EBONIX)

Presented by: EBONIX in collaboration with Electronic Arts, British Council, Ubisoft, XBOX UK and other partners from art, gaming, and creative tech industries

Info & Ticket Link HERE

Doe Paoro on New Album ‘Living Through Collapse’ Owning Her Masters and Building a Sustainable Artist Career

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Sonia Kreitzer, the visionary multidisciplinary artist known to the world as Doe Paoro, is fundamentally guided by a profound belief: that music is a "wisdom technology." This philosophy, rooted in her study of Lhamo, Tibetan Opera singing, defines a career that spans five full-length records, collaborations with artists like Justin Vernon, and a mastery of ritual facilitation and sound healing.

In an era where many artists struggle for control, Doe Paoro is a model for sustainable artistry, having achieved critical recognition from NPR to Pitchfork and prioritizing her creative autonomy. The true masterclass for fellow musicians lies in how she's structured her business: by fiercely maintaining creative control and owning her masters after navigating the major-label system.

Her highly anticipated new album, Living Through Collapse, arrives after a seven-year gap as a profound work of reckoning. Bolstering this release is the single, ‘Teach Us of Endings’, a track that channels a sublime energy, backed by a cinematic video directed by AnAkA (FKA Twigs, Janelle Monae) and filmed in Costa Rica.

Your new album Living Through Collapse is your first full-length release in seven years. What story were you hoping to tell with it?

This is a record about tending to the sacred calling of grief and sitting with the question of what it means to become a conscious ancestor. The embryo of this album is miscarriage. When I miscarried two years ago, the most shocking part was having an experience of feeling life and death simultaneously pulse, within the framework of my body.

It was such a profound deepening in expanding my own capacity to hold multiple truths at the same time, which has been serious medicine, given the polarity of the times we are living through. These songs are my learning from this time. They’re an invitation to honor the complexity of our era: holding grief for all the suffering in one hand and a radical commitment to creating a more life-affirming world in the other.

At its heart, the album tells the story of my body over these past years, navigating illness, loss, and identity dissolution, a journey that mirrors what I see unfolding collectively, as we reckon with unprecedented climate consequence as the result of an extractive mindset that has objectified both the Earth and each other. Things are composting structurally and existentially on a massive scale right now. My hope is that this music helps us turn toward that awareness, to be with the unraveling, and to listen for how each of us might be of service to the calling and the crisis of this moment.

You’ve previously released music through major and independent channels. What have you learned about navigating release strategies and maintaining creative control?

Maintaining creative control and owning my masters is how I have been able to have a sustainable career. My time at a label showed me how doable it was to be independent - it broke down the fantasy that being on a label was going to do anything for me that I couldn’t do for myself, which was extremely useful. On a practical side, I have learned the importance of having a plan and releasing singles and finding ecosystems for each song to seed and grow in.

What advice would you give to independent artists trying to build sustainable careers while staying true to their creative vision?

Trust that each artist’s path is uniquely their own, full of strange miracles and timing that is completely unpredictable, so there is no use in comparing your path to anyone else’s because it could never be the same.

Continue to make good art that you respect and own your masters. Making money from ways other than music is nothing to be ashamed of - in fact, this can take a lot of heat off the idea that your music has to be a success financially, which can corrupt the purity of what you’re making.

I worked so many jobs before I got to the point where my music could sustain itself and creating a big body of work in that time while I was working other jobs is what allows me to be full time with my art now.

As someone who’s worked across both artistic and wellness spaces, what have you learned about the business side of building a community around your work?

The people who are going to resonate with your music are likely in the same spaces that you already enjoying spending time in; that’s how resonance works. For me, it was such a massive gift to realise how appreciated my music was in various healing and ceremonial spaces because this is where I loved being and had devoted so much time apprenticing in, outside of my career as an artist. When I share my music in these contexts, they become embedded in a community and the music becomes part of a context, a family, and a memory.

Find the groups you are naturally gathering with and share your music with them. I had a big unlock during the pandemic when I shared a video on TikTok that went viral, and at the end of it I had mentioned I was holding a free virtual healing circle online. About 2,500 signed up to join that Zoom though an Eventbrite link I had put in my bio; I had to upgrade my Zoom subscription!

Suddenly, I had a whole new email list. Because Eventbrite shares all the emails of folks who sign up for any event with the organiser, I find it a great platform for building out community. Consider offering some free events to build your mailing list that way and share your music locally.

How do you approach networking in a way that feels genuine and long-lasting?

I’ve never really resonated with the idea of networking, it feels transactional and disconnected from the heart of why I make music; I have really done my best to opt out of that way of relating. I’m lucky to have an incredible community of friends and collaborators, many of whom I’ve worked with for years. For me, relationships grow out of shared values, curiosity, and devotion to the work itself.

When I need to connect with someone new, like recently when I was looking for a graphic designer and a new lawyer for my record, I tend to trust the mycelial nature of my community. I’ll reach out to my close circle, and somehow the right person always seems to be within a couple of phone calls.

What do you think artists often overlook when it comes to the business side of their careers?

The music industry is very confusing, by design. The truth is, the friends I have seen rise to stardom were always very savvy business-wise, from their early days - it was not coincidence or sheer talent that those folks made quantum jumps in their career; they made a series of informed, well-measured and strategic business decisions that scaffolded a path to success.

It can be very empowering to learn the business side of music and also extremely boring so if you don’t have the motivation to do that, make sure you partner with a great lawyer or manager whose guidance you can trust. It’s so important to have mentors too. Also, this is such a simple thing but share your chords! Make it easy for folks to play and cover your music.

You recently wrote about navigating endometriosis while releasing your record. How did that experience shape your relationship with your work and your pace as an artist?

Thank you so much for this question. 5 days after I released Living Through Collapse, I went in for surgery to remove endometriosis on 5 of my organs. It has honestly been very sad….this was a time that I thought I would be celebrating and touring my record, but instead it has been a period of grief, reflection and healing. And at the same time, I wrote a record called Living Through Collapse, and I accept that there is some poetic architecture to this period of collapse being how the release went; I really do trust the workings of the great mystery.

My illness has forced me to finally learn how to put my health first after years of bypassing my body to meet the demands of my work, touring and teaching all over the world and ignoring my own exhaustion, etc. Surgery is so violating; the body doesn’t necessarily understand that it has consented to the process, and I think a lot came up that I wasn’t expecting. It has really slowed me down, but I think that has been corrective. The world is speeding up, and I am finding a quiet recalibration in this sacred pause.

Your upcoming retreat Activating the Voice blends music, embodiment, and community. What inspired this idea, and what do you hope people take away from it?

The gathering is based on my insights from my years as a singer and as a mentor and coach of the voice to others and the recognition that much of what creates disempowerment in the voice is the unacknowledged personal, cultural, political and ancestral landscape, as well as the stories that have been cast as spells over a lifetime (stories like “you’re not a good singer” or “children should be seen, not heard.”) I love this work and helping others tap into the joy and power of their voice; it lights me up.

My wish is that the folks who are joining will leave feeling more liberated and brave in their self-expression, and more in touch with their own inner-song, because we all have so much music inside of us and sharing that music is a gift to both your ancestors and to the world.

What are three values that guide your life and creative work?

Seek truth, be of service, be compassionate.

Connect with Doe Paoro Instagram | Substack | Website

Grammy-Nominated Engineer and Artist The BLK LT$ on Building Confidence in the Studio

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The BLK LT$ is a Grammy-nominated engineer and artist described by Flaunt as “one of hip-hop’s secret weapons.” Her technical and creative fingerprints can be found across collaborations with Drake, Future, French Montana, Kodak Black, Saweetie, DMX, and more.

A rare female presence in hip-hop recording rooms, The BLK LT$ built her career through relentless self-education, locking herself away for weeks to master new gear and production techniques. That dedication eventually caught the attention of one of hip-hop’s most influential architects, RZA, who signed her to his 36 Chambers imprint.

Now stepping out from behind the console, she is preparing to release her forthcoming album Honey: The BLK LT$ Meets The Killa Beez (out now). The project marks a full-circle moment for her: as a seven-year-old, she copied Return to the 36 Chambers by ODB onto cassette and listened obsessively.

Now based in Atlanta, she continues to expand her creative universe producing for other artists, scoring documentaries, directing under her BLK LT$ Media Group imprint and releasing her own work through 36 Chambers.

How did you get your start in music?

My parents are true music lovers and used to play music all the time. They were both dancers on a disco TV show in Canada in the late ’70s, so music always filled our house. My father was also in a reggae band, and we used to hear them practice with so many amazing talents. That energy always made me feel something unlike anything else, and I knew music was the path I would take. I started playing piano at three years old, and it all grew from there.

Honey: The BLK LT$ Meets The Killa Beez is reimagining Wu-Tang classics you grew up on. What was the creative or emotional spark behind this project?

The emotional spark came during the COVID lockdown. The world felt so dark and uninspired, and I just wanted to create something fun to keep my mind off things. Once I started, it took on a life of its own. I’ve always been inspired by Wu-Tang and wanted to express how their music influenced me both lyrically and musically, something I hadn’t done with their sound before.

The Wu-Tang influence runs deep in your work. Beyond nostalgia, what lessons from that golden era of hip-hop still matter for new generations of artists?

I feel that raw, vulnerable expression is something hip-hop truly embodies, and I always want to apply that to what I create. There was a time in hip-hop when much of the focus was on materialistic or shallow themes, and not everyone can relate to that. I hope hip-hop continues to open up to real stories and genuine perspectives on life, ones that fans can truly connect with.

Working with artists like Drake, Future, and RZA puts you in some of the most competitive creative spaces in hip-hop. What are some of the top lessons you’ve learned?

Oh man, first and foremost, be yourself. Stick to the vision you have until you get your point across. These guys created molds that didn’t exist and that’s the wave I’m on. I try my best to bring my authentic self to the forefront every time I turn on my equipment.

Being one of the few women in hip-hop recording rooms, how have you navigated those dynamics and built confidence in your own sound and decisions?

Sometimes it’s hard, at the beginning, it was even harder, but I think being down to earth and showing my expertise has always helped people feel at ease when working with me, whether they’re men or women. Times have definitely changed over the years, and it’s funny because now, it’s often the men asking the women in the room if what they’re saying connects with them, since they’re creating for us, you know? Lol. I give them the edge they might be missing when it’s needed on a song.

You’re self-taught and spend weeks mastering gear and engineering techniques on your own. What would you say to young producers who feel overwhelmed by the technical side of music creation?

I say take it day by day and try to learn something new every day. Technology and techniques are expanding every year, especially with the rise of AI. It’s important to know the basics and master your own sound and craft, but there are now so many more platforms and people to learn from.

What's one piece of advice you wish someone had given you when you began?

Trust your gut!!! Especially in the beginning. When I started professionally around the age of 11, I had a lot of people in my ear, which is understandable, but there were times I knew what I wanted and got talked out of it, only to see a bigger artist do the same thing months later and have those same people call it amazing. I eventually learned the lesson, but it took a lot of growing pains to get there.

How important is it for artists today to understand production and engineering, even if they don’t plan to do it themselves?

I think it’s important for artists to have an understanding of music creation so they can clearly communicate their creative ideas to engineers or producers. When you can’t explain what you want, it takes so much longer to get there. Knowing the names of different effects or BPMs, or having references and influences ready, makes it easier for both parties to reach the final result smoothly.

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

My Fenty lip gloss, hand lotion, and mini Gucci perfumes are always in my bag.

Follow The BLK LT$ on Instagram | YouTube

12B Streams, Co-Writing for Britney and One Direction: GRAMMY-Nominated Hitmaker RuthAnne Unveils "The Moment" and her First Book

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Dublin-born songwriter, artist, mother, and now author, RuthAnne has spent two decades shaping the sound of modern pop. At 17, she penned JoJo’s Too Little, Too Late, a Top 5 US and UK hit that launched her into the global songwriting spotlight. Since then, she has written era-defining tracks for Britney Spears (Work Bitch), One Direction (No Control, Where Do Broken Hearts Go), Martin Garrix and Bebe Rexha (In The Name of Love, 1.5B streams), and many more.

As an artist, RuthAnne’s debut single The Vow (2018) has become a modern classic, hitting No.1 in Ireland, entering the UK Top 40, and soundtracking weddings and celebrations worldwide. In 2025, she returns with her second album The Moment—a deeply personal record exploring love, loss, motherhood, resilience, and womanhood. Its lead single, The Way I’m Wired, tackles her lived experience with endometriosis, a cause she also champions as an ambassador for Endometriosis Ireland and through her schools project, Endo&ME.

This year also sees RuthAnne publish her first book, It’s Not Just a Song, a candid guide for young artists navigating the music industry. Balancing life as a mother of two with her work as a hitmaker and advocate, RuthAnne continues to create music and stories rooted in truth, connection, and the human condition.

You’ve been writing hits since you were 17. Looking back, what do you know now about songwriting that you wish you’d known then?

I think the main thing I wish I’d known back then was how important the dynamic of the writing room is. It can really make or break the song on any given day, and learning how to navigate those dynamics is key.

You’re a singer, songwriter, author, advocate, and mother of two. What advice would you give to creatives trying to juggle multiple roles without losing their artistic core?

My biggest advice would be to trust the process and stay true to yourself. Don’t  compare yourself to others. Lean into your passions, focus on your own journey, and trust that process. Take one thing at a time, one day at a time, and it’ll all work out in the end if you put the work in  

Your book It’s Not Just a Song includes conversations with writers like Amy Allen, Emily Warren, and Dan Wilson. What are the biggest common threads you noticed in how great songwriters approach their craft?

I guess the biggest common thread through interviewing the biggest songwriters was understanding that the best songs usually come from the conversations in the room that day. They stem from the real things that the creatives are experiencing. The key is to embrace that, to talk, to hang out, then the song will come. 

What’s one lesson about the music business you feel every emerging artist should learn early, even if it’s tough to hear?

That it’s a game. Those who know how to play the game smartly usually are the most successful. At the end of the day, it’s a business, and that can be hard for creatives because we make art. Art and business don’t mix well, so it’s learning how to navigate that and thrive in it. And remembering, talent alone is not enough. You need determination, a great work ethic, and to be able to play the game.

With over 12 billion streams across your catalogue, what do you think separates songs that quietly come and go from those that travel the world and keep resurfacing, like The Vow?

I think it’s anything that has a universal sentiment. Songs that have that will always resurface and have impact. With ‘The Vow’, the lyrics have an emotional impact for a lot of different types of love - love between couples, between parent and child, or between best friends. It makes people feel something they’ll always remember. If a song is empty, it won’t last. The songs that last are the ones that mean a lot to people, people will carry those songs with them throughout their lives.

Mentorship is a strong theme in your work. For artists who don’t yet have access to mentors, what practical ways can they create their own “support system”?

I think being a part of the music community. Get yourself and your music out there. Create that support system around you and really be a part of the community in whatever way you can. It’s going to open mic nights, finding collaborators, going to music events, joining the music societies that have panels, talks, and resources.   

Your upcoming album The Moment was written in the most personal corners of daily life: breastfeeding, commuting, acupuncture tables. How did writing in those “in-between moments” change the way you see creativity?

Writing the album this way reminded me that you truly can write, be inspired, and create anywhere. You don’t need big budgets or fancy recording studios, you can literally write anywhere at any time. It brought me back to being a teenager in my bedroom, just writing because it was my passion.

You’ve written across so many genres for other artists. How do you decide what’s a “RuthAnne song” versus one you’d give away?

It used to be hard deciphering what song is for me versus what songs to give away because in my earlier years I was still figuring myself out as an artist. But now it’s very clear. When I go in with an artist, I’m writing for their project and helping them tell their stories, and I love doing that. Then I write a lot of my own songs either alone or with producers where the lyrics and melodies are very much my story. The time I spend on my records is intentional, focused time where I’m writing for myself, so it’s easy to separate the two. I get creative fulfillment doing both. One can’t really exist without the other.

New Album THE MOMENT Out October 10

Debut Book It’s Not Just a Song & Book Playlist

Kerry O’Brien on Founding YUAF and Building a Fairer Music Industry

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Photo credit - Elizabeth Lenthall

Kerry O’Brien, BEM, FRSA - artistically known as Indigo Reign - is a visionary creative, changemaker and founder of the Young Urban Arts Foundation (YUAF), an award-winning UK charity that empowers young people through music, creativity, and outreach. Her flagship double-decker studio bus brings access to communities with little or no connection to the arts, acting as a lifeline at a time when youth clubs continue to close across the UK.

An influential figure in the UK’s underground music scene and a multi-award-winning artist, Kerry was also one of the first prominent female MCs under the name Lady MC.

Kerry helped carve space for women in jungle before evolving into Indigo Reign, a project that channels lived experience into lyrical truth while bridging culture, healing, and grassroots empowerment. Alongside YUAF, she has released music on major labels and hosts her own show on Rinse FM.

Through both her artistry and her activism, Kerry O’Brien has built a platform that confronts inequality, exclusion, and mental health stigma head-on, proving that creativity is not just an outlet, but a force for revolution.

What pushed you to move from pursuing your own career to founding YUAF back in 2009?

The truth is, I didn’t plan to start a charity, I kind of fell into it. As one of the few female MCs in jungle, I became a role model without realising it. MC Angel guided me into delivering workshops in schools, and little did I know it was my true calling.

Music had always been my lifeline, it gave me the feelings I never had at home or in school. When I saw myself reflected in the kids we worked with, it set me on my own healing journey. Honestly, for the first five years I didn’t fully see it, I was at the peak of my career and sometimes resented the sacrifice. But when your calling is your calling, you have no choice but to follow it.

Looking back, YUAF saved me as much as it’s saved others. And now, I’m balancing both, I’ve had major label releases this year, I host my own show on Rinse FM, and Im getting ready for a string of East African shows in the winter months.

With so many youth clubs closed, the YUAF bus has become a lifeline. What’s the biggest lesson you’ve learned from taking creative spaces directly into communities?

That creativity saves lives. The bus isn’t just a studio on wheels, it’s a sanctuary. I’ve seen young people step on with anger, pain, or no sense of direction, and within an hour they’re smiling, writing bars, producing beats, and most importantly, being seen.

What I didn’t expect was how much I’d see myself in them. Their stories mirrored mine, growing up feeling different, misunderstood. I thought I was building this for them, but it was also healing me. The bus showed me that talent is everywhere, but opportunity isn’t. When you take the space to them, they flourish.

And honestly, they’ve taught me as much as I’ve taught them, resilience, patience, and the importance of staying connected to your truth.

You began your career in music as Indigo Reign, formerly Lady MC. How did those early experiences shape the way you navigate the industry today?

My start as Lady MC taught me resilience. I was stepping into a male-dominated jungle scene, often the only woman in the room, and I had to fight to be heard. Those years gave me thick skin, but they also gave me purpose,  if I could carve space for myself, I could open doors for others.

Indigo Reign is the evolution of that. It’s not just about proving myself anymore, it’s about owning my craft, protecting my energy, and showing others, especially women and people of colour,  that they can take up space unapologetically.

Networking can feel intimidating for young people. What’s your best advice for building real, lasting relationships in this industry?

Networking was never scary for me, being on stage from a young age gave me confidence to hold my space. But I know for others it can feel intimidating. What I’ve learned is that real relationships aren’t built on business cards, they’re built on energy and authenticity.

Don’t think, *what can I get?* Think, *what can I bring?* Sometimes it’s ideas, sometimes it’s support, sometimes it’s just good energy. That’s what people remember. And for women, especially in industries that test us, the most powerful thing you can do is show up as yourself with confidence and integrity.

You’ve worked with everyone from grassroots community groups to major artists. What qualities do you think make people stand out and get noticed?

Consistency, integrity, and self-belief. Talent gets you in the room, but character keeps you there.

I’ll be real, in my younger years I was rebellious, and it didn’t always serve me. Substances, late nights, pushing limits, it might feel like connection in the moment, but it doesn’t build respect. I wish I’d had a mentor to guide me through that, because being professional, looking after yourself, and knowing how to carry yourself is just as important as the art.

Once I became more conscious, I saw how much that changed how people experienced me and my music. That’s why I put so much into mentoring now, because when you pair talent with discipline and self-awareness, that’s when you truly stand out.

You meet a lot of young people with raw talent. What’s the first step you encourage them to take if they want to turn that spark into a career?

Raw talent is a spark, but to turn it into a career you need discipline and self-awareness. When I started as Lady MC, I thought hype alone would carry me. But without structure, you burn out fast.

The first step is knowing who you are and why you’re doing it,  your ‘why’ carries you through the tough times. Then it’s about consistency: practising, learning, showing up even when no one’s watching. Talent opens the door, but professionalism and character keep you in the room.

I always tell them,  discipline doesn’t kill your creativity, it protects it.

For someone starting out now, what’s the most realistic way to break into music or the creative industries without traditional connections?

When I was starting out as Lady MC, I didn’t really know anyone,. I didn’t come from the industry, so I built my own lane. I put myself out there on pirate radio, I kept showing up at raves, and eventually people couldn’t ignore me.

The blessing for this generation is you don’t need permission anymore. You can build your own audience on TikTok, YouTube, SoundCloud,  whatever feels authentic. The key is consistency and showing up as yourself. Talent gets attention, but community and authenticity create longevity.

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

I’d tell my younger self: *trust your worth and protect your energy.* Back then, I was so focused on proving myself in a male-dominated scene that I ignored my intuition and let other people’s opinions weigh heavier than my own.

I’d remind her that her difference was her power. She didn’t need to fit in, her story and her voice were already enough. I’d tell her to pace herself, to care for her wellbeing as much as she cared for the music, because balance is what brings longevity.

And I’d tell her to never be afraid to ask for help. Mentorship and community are everything. You don’t have to carry it all alone.

Looking ahead, what kind of industry do you hope the next generation of young creatives will inherit, and how do we start building it now?

I want the next generation to inherit an industry that truly reflects the world we live in, diverse, fair, and full of opportunity for everyone, not just a chosen few. An industry where women and people of colour don’t have to fight twice as hard to be heard, where authenticity is valued more than numbers, and where creativity is nurtured instead of exploited.

To build that, we have to invest in grassroots talent and create spaces where young people can experiment, fail, and grow without fear. We need mentors who pass down not just skills but wisdom about how to thrive without losing yourself.

The YUAF bus is one glimpse of that future,  taking creativity straight to communities that are often overlooked, and showing young people their voices matter.

My hope is that in the years ahead, young creatives aren’t trying to squeeze into an industry built on old rules that they’re building a new one. Inclusive, sustainable, and rooted in community. That’s the legacy I want to help create

Connect with Kerry O’Brien

Instagram & LinkedIn | YUAF Website

Volumo CMO Julia Afanasieva on Building a Fairer Digital Music Store for Artists

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Julia Afanasieva has spent more than a decade shaping digital marketing strategies that cut through the noise, leading global campaigns, managing major budgets, and building teams that deliver results. Today, she’s bringing that playbook to electronic music as Chief Marketing Officer of Volumo, the independent digital store positioning itself as a fairer alternative to Beatport and Traxsource.

Launched in 2022, Volumo puts artists in control of pricing and presentation while offering DJs a curated catalog free of clutter and pay-to-play bias. Under Julia’s watch, the platform has quickly gained traction with both underground talent and established names.

How did your career in marketing and the music industry lead you to your current role at Volumo?

My career has always been about building and scaling digital projects in competitive industries. Over the years I’ve developed a strong mix of data-driven marketing, product thinking, and creative execution. When Volumo came along, it felt like a natural fit: here was a platform that combined culture with technology. What excited me was the chance to use my experience to help shape a fairer, more innovative space for DJs, artists, and labels.

What’s a day in your life like as CMO of Volumo?

Every day is different, but the focus is always the same: growth. I start by diving into analytics campaigns, funnels, conversions  and then shift into strategy: testing new creatives, exploring audiences, and refining positioning. It’s a constant cycle of experimenting, learning, and scaling what works. The fast pace keeps things exciting, because every day we take Volumo one step further in redefining how DJs and artists connect with their audience.

What inspired the creation of Volumo, and which gap in the market were you aiming to address?

It all started when two of the co-founders, both professional DJs. They realized that no single music store could meet everyone’s needs, and there was room for different approaches to finding and purchasing music. Around the same time, they began producing their own tracks and noticed that the industry’s push toward streaming didn’t work well for every artist. Eventually, a third co-founder, the tech guy, joined the team, and that’s when the idea for Volumo truly began to take shape.

In some sense, Volumo was born from a simple question: What if there was a place that treated music not as a product to push, but as something to be genuinely discovered? Most platforms just throw the same popular stuff at you. We thought: what if there was a place where you could actually find music on your own, not what’s being pushed, not what everyone else is listening to, but tracks that really speak to you?

How does Volumo support emerging artists differently from other platforms?

Volumo gives emerging artists both visibility and fair economics. Artists keep 75% of every sale, set their own prices, and aren’t buried under paid placements or algorithmic bias. Our curation team highlights music for its quality, not its marketing budget, while features like DJ Charts let tastemakers push fresh tracks into the spotlight. And because Volumo is download-first, every sale gives artists meaningful income instead of fractions of a cent.

What’s the biggest challenge in building an independent music platform in a market dominated by giants like Beatport and Traxsource?

The biggest challenge is breaking through habits. DJs have been using the same platforms for years  Beatport, Traxsource, Juno Download, Volumo is now starting to join that list for some.

Competing with giants isn’t only about catalog size, it's about trust, visibility, and proving that we offer something truly different.

For us, the solution has been to stay authentic: no pay-to-play visibility, no inflated hype, just a platform that genuinely helps DJs discover music and helps artists get paid fairly. It’s harder to grow this way, but it builds a stronger foundation. Every time a DJ finds a hidden gem on Volumo or an artist sees real income from a track, it confirms that we’re moving in the right direction.

How do you see the role of independent music stores evolving over the next five years?

I believe independent music stores will become even more important as counterbalance to the dominance of a few global platforms. DJs and artists are increasingly looking for authenticity, fair economics, and spaces where discovery isn’t driven by algorithms or advertising budgets.

Over the next five years, independent stores will thrive by focusing on depth rather than scale: curated catalogs, niche genres, and communities that feel personal rather than mass-market. They’ll act as cultural hubs where underground scenes can grow and where artists don’t have to compete with corporate marketing spend to be heard.

For Volumo, that’s exactly the path we’re on: building a platform that puts fairness, identity, and discovery at the center, and proving that independence can be a strength, not a limitation.

What drives you personally to keep innovating in this industry?

What drives me is the belief that platforms shape culture. If discovery is dictated only by algorithms or paid placements, the scene becomes shallow and predictable. But when you create a space where artists can be fairly rewarded and DJs can truly discover new sounds, you’re helping the culture grow in an authentic way.

For me, innovation isn’t about adding shiny features, it's about making sure technology serves creativity instead of replacing it. Every time I see an artist getting real income from their music on Volumo, or a DJ finding a track that transforms their set, it reminds me why this work matters. That’s what keeps me moving forward.

What’s your proudest moment so far?

One of the proudest moments was when Volumo was officially recognized by the Association for Electronic Music as one of the leading DJ music platforms worldwide. For an independent project, standing alongside established industry giants was proof that our vision matters.

Another highlight is the feedback we get from DJs and artists  when someone tells us they discovered tracks they couldn’t find anywhere else, or that their music finally started generating real income through Volumo. Those moments remind us why we built this platform in the first place.

What advice would you give someone who wants to launch their own platform in the music industry or work in the music/tech space? 

Start by making sure you’re solving a real problem. The music industry is full of ideas that sound exciting but don’t actually address what artists, labels, or DJs need. Talk to your audience early, test small, and move fast. The feedback loop is more valuable than a perfect plan.

Second, don’t underestimate how tough this industry is. Passion is essential, but you’ll also need resilience and the ability to measure everything you do. Build with sustainability in mind: think about how artists will benefit, how fans will engage, and how the platform will generate revenue without compromising its values.

Finally, remember that culture comes first. Technology is a tool, but if it doesn’t serve the music community authentically, it won’t last. The projects that succeed are the ones that respect both sides: innovation and the scene itself.

What have you been listening to on repeat at the moment?

Lately, I’ve been vibing to “What I Need” by Naarly, Sickluv & Thabza De Soul. Its groove, soulful chords, and emotional depth create this hypnotic energy, the kind of track that you press replay on without even realizing it.

Connect with Julia Afanasieva on Instagram | Volumo

Sisu’s Collective Approach to DJ Culture, Community, and Inclusive Dancefloors

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When DJ, producer and promoter Malissa Kains first began learning to mix, it was on borrowed decks at after-parties, snatching a tune or two before being pushed aside. The experience was isolating and frustrating, and it highlighted how few spaces there were for women to practise without judgement.

Out of that gap came Sisu; a platform dedicated to supporting, educating, and showcasing women and non-binary DJs and producers. What started as an idea for peer-to-peer practice sessions has grown into a grassroots network with real impact across the UK and Europe.

Sisu now runs workshops on DJing and production, curates events that put underrepresented artists at the centre, and hosts regular radio shows that give emerging talent space to experiment. Their DJ roster spans genres and identities, reflecting a belief that the value of a community lies not in one sound but in the connections it makes possible.

At the heart of Sisu’s work is a refusal to accept the industry’s old barriers. By creating entry points for new DJs, building mentorship pathways, and holding festivals and promoters accountable, the collective has become both a launchpad for artists and a critical voice within electronic music. The focus is not only on representation but on reshaping structures, pushing for fairer opportunities, greater visibility, and long-term investment in diverse talent.

Nearly a decade on from its beginnings, Sisu has seen its members progress from their first hands-on workshop to festival stages and international bookings. But the ethos remains the same: create spaces where women and non-binary artists can take up space, experiment, and grow together.

Why did you start Sisu? What gap in the music industry were you determined to fill?

Malissa: I found learning to DJ difficult, not having my own equipment I was learning at after parties getting the chance to play one tune before someone else was swiftly wanting to play another tune.

I was always the only girl in a line of boys at the afters, not being able to smoothly mix it was dismissed and so I wanted to create a welcoming space to be able to make mistakes and just practise with no pressure.

Little Hats

Your roster spans so many sounds and identities. What’s your process for curating who joins?

Little Hats: Sisu has never been defined by one sound or aesthetic. We are eclectic and welcoming. What unites us is the eagerness to share the journey, and to lift one another up. Our community is cyclical: we take, and we give back—each at their own pace.

Since launch, many have come through our beginners’ courses, placing their hands on CDJs for the first time. The same people attend our nights, meet like-minded individuals, and see relatable role models behind the decks. Some secure their first gig, radio slot, or collaboration through the community.

Fast-forward: they invite Sisu to support them at their first major booking, or to join a night they themselves are curating. We have seen many such journeys unfold, and we curate for this mindset rather than for any particular sound.

What’s the most rewarding change you’ve seen in the scene since Sisu launched?

((( CLEOPATRA ))): Women taking up space in the DJ scene!! More workshops and people becoming students - it’s great to see a level of jamming and education behind peoples inspiration to start DJ-ing.

Holy C

What’s your best piece of advice for DJs looking to break into the industry?

Holy C: Get to know your sound and DJ style. Figuring out what makes you unique takes time, passion and patience. Enjoy every moment! Having clear goals you’d like to achieve is very helpful.

If there are dream parties I want to be playing, I’ll start curating a set specifically for this, record it and get in touch directly. When looking to break into the industry, it’s important to have a thick skin, and self-belief. Don’t be afraid to cash in a favour if it’s offered! Also, having creative headshots that represent you as a DJ is essential!

Little Hats: Begin with vision. Picture your ideal dancefloor the sound, the crowd, the energy and work towards bringing it to life. Seek out opportunities that fit that vision. Decline those that do not. Grassroots projects often provide the space to have more curatorial agency, and to steer the night into your own vision.

Adapt to the context: the slot you play, who comes before and after, who is in the room. But always find ways to let your own identity shine through. Stay true to your sound while catering to the occasion: the balance is what marks a thoughtful DJ. Find your tribe. Collaborate with those who share or complement your taste, and support each other as DJs and fans alike.

((( CLEOPATRA )))

((( CLEOPATRA ))): Start collecting music!! Create a Bandcamp account! Support and buy music when you can. Don’t be afraid to perform for yourself of one person it’s not about the crowd it’s about the story you’re telling with music!

As a small collective, how do you see your role in challenging festivals and the wider industry to be more accountable for their partnerships and investments?

Dolça van Leeuwen: As a grassroots collective, our strength lies in community, transparency, and values-driven action. We may be small in scale, but we’re deeply connected to the people and ideas that are shaping the future of electronic music. That gives us the power to ask hard questions about who gets platformed, where funding comes from, and how inclusive spaces really are.

We see our role as both a support system for emerging talent and a critical voice that holds institutions to account. By leading with integrity in our own work; from who we collaborate with to how we structure our events — we hope to model alternatives to extractive or performative industry practices. Festivals and larger players need to recognize that true accountability goes beyond optics; it’s about long-term investment in equitable ecosystems. And we’re here to keep that conversation active and loud.

Lucine

If Sisu could make one change to the global music industry overnight, what would it be?

Lucine: A fairer redistribution of resources whether that’s fees, opportunities, or visibility.

Too often the industry is structured to favour the same few, when there’s so much incredible talent everywhere that deserves support.

Little Hats: To make mainstream what we have nurtured at grassroots level.

For years we have worked to:

  • Raise awareness of the gender gap and turn awareness into action.

  • Create entry-level opportunities for new DJs.

  • Build mentorship structures with clear pathways for growth.

  • Become a recognised focal point for promoters who want to diversify line-ups but do not know how.

  • Promote collective collaboration among marginalised groups, rather than competition—curating group line-ups, sharing opportunities, and making decisions together.

  • The effect is a more diverse and inclusive music scene, one that benefits dancers as much as DJs. (Little Hats)

  • Our aim is that these principles should no longer be confined to community movements, but should penetrate the industry at large.

Dolça van Leeuwen

What’s next for Sisu? Any projects or events you’re especially excited about? 

Dolça van Leeuwen: We’re really excited about expanding our showcase series, bringing together DJs, producers, and creatives from across the electronic music scene.

Our focus continues to be on nurturing emerging talent through hands-on skill-sharing, mentorship, and community building. We’re also working on curated events in new cities and a few collaborations we can’t wait to announce. As always, it’s about amplifying diverse perspectives and pushing the culture forward.

What is Sisu listening to on repeat right now?

Dolça van Leeuwen: Right now, Sisu is deep into a mix of hypnotic techno, breakbeat, and experimental club sounds. Artists like VTSS, Anz, and SHERELLE are on heavy rotation, anything with high energy, bold textures, and forward-thinking production.

We’re especially drawn to tracks that blur genre lines and bring fresh perspectives to the dancefloor. Whether it's a driving 4/4 rhythm or a broken beat that catches you off guard, it’s all about sounds that move both body and mind.

Sisu on Instagram | Website

Next Sisu event @ Kapsule, Liverpool - 19th Sept | Tickets

with Ellie Stokes, Malissa, Willow, Ysanne

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3 Values that guide your life

Connection, Compassion, and Authenticity :)

Connect with Izzy Parrell on LinkedIn | 444 Sounds Website

Leila Fataar on Culture-Led Brands and Business Transformation

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

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

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

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

What does a typical day look like at Platform13?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What’s your non-negotiable for staying grounded?

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

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

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

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

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

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

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

Connect with Dina LaPolt on Instagram | Website

Pre-order Street Smart

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

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

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

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

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

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

Neijah Lanae and Arniesha Williams on Building Groove Theory Project

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Three values that ground how you approach creativity and collaboration.

Intentionality, preparation, and communication. 

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

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

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

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

Tips for anyone who wants to get into your industry

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

3 things you can’t live without in your bag


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

Afroplug: Music Tech Startup | Samples Label | Events

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

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

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Photo Credit: Matt Fajardo

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

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

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Website: Gender Amplified | Ebonie Smith on Instagram

Ana Marković: Steering EXIT Festival's Global Influence

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Photo Credit: Sofija Palurović

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

Tips for staying grounded on a tough day.

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

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

Tips for anyone who wants to get into your industry.

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

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

What are you listening to at the moment?

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

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

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

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

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Interview by @ninakeh

Stacey “Hotwaxx” Hale on Instagram | Website

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

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

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

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

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

How did you get your start in music?

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

Describe a day in your life as tour manager.

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

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

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

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

Amanda Barker & Becky Hill

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Introducing the Trans Charter for the Music Industry

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

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

What is the Trans Charter?

The Trans Charter for the Music Industry is a transformative initiative designed to create real, systemic change. It offers a set of actionable guidelines that music organisations, labels, venues, festivals, and professionals can commit to. This isn’t just lip service—it’s a roadmap for building a more inclusive and affirming environment for trans and non-binary artists and professionals.

The Charter’s core pillars include:

  • Establishing trans-affirming policies and best practices.

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

  • Providing comprehensive educational resources and training.

  • Creating networks of support and collaboration for marginalised communities.

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

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

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

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

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

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

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

How can people reach out to you?

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

Want to Be Part of the Change?

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

Sign the Charter HERE.

Connect with Saskhia Menendez

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

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

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

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

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

Mariesa Stevens (Partner/VP), Liaison Artists

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What am I listening to these days? 

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

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

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

Emma Hoser

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

Connect with Mariesa Stevens & Emma Hosser | Liaison Artists