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

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

Tips for anyone who wants to get into your industry

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

3 things you can’t live without in your bag

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

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Afroplug: Music Tech Startup | Samples Label | Events

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

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

Photo Credit: Matt Fajardo

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

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

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Website: Gender Amplified | Ebonie Smith on Instagram

Ana Marković: Steering EXIT Festival's Global Influence

Photo Credit: Sofija Palurović

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

Tips for staying grounded on a tough day.

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

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

Tips for anyone who wants to get into your industry.

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

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

What are you listening to at the moment?

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

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

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

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

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Interview by @ninakeh

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Stacey “Hotwaxx” Hale on Instagram | Website

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

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

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

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

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

How did you get your start in music?

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

Describe a day in your life as tour manager.

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

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

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

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

Amanda Barker & Becky Hill

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Introducing the Trans Charter for the Music Industry

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.

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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.

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Connect with Saskhia Menendez

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

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

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!

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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!

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Connect with Mariesa Stevens & Emma Hosser | Liaison Artists

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

Tips for anyone who wants to get into your industry

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

3 things you can’t live without in your bag 

1. Ami Cole lip gloss

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

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

What are you listening to right now?

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

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Connect with Olivia Shalhoup on Instagram | Amethyst Collab

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Vicky Eacott: Building a Career in Independent Music

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NYC Multidisciplinary Artist and Producer Nikki Silva on Breaking Into the Music and Film Industry

Nikki Silva is an actress, musician, and film/theater director based in NY. Some of her acting highlights include being nominated for best actress at the 2024 Chelsea Film festival for her role as “Susan” in feature film “Our Lady Of Queens” as well as receiving buzz in 2021 for her role as “Eve” in the short film “Eve” directed by Wesley Wang. Nikki spent 7 years as the lead singer and rapper in an original reggae-rock band, “The Big Happy” touring the east coast and opening for acts such as "Beres Hammond" , "Slightly Stoopid" and “Sublime with Rome.” 

After leaving the band, she started a production company and featured on songs with artists such as rapper nikmoody and pop singers Xristina Capous and Katt Rardi. Nikki Silva is the founder and director of a non-profit beauty pageant, which has been going strong for 11 years. The Exceptional Pageant is a unique organization, giving opportunities to shine and raise awareness for individuals with developmental and intellectual disabilities. Currently, Nikki is working with Producer and Musician Teddy Kumpel, on writing her solo artist debut album.

How did you land your first gig as a producer?

I think I was producing before I knew what producing was. I put on a whole original production in a homeless shelter when I was going through tough times as a kid.  

Then, I held auditions for a movie I made when I was 10 and had my whole family involved in making it. I scheduled shoot days and I filmed it on a camcorder and edited it in real time because I had no idea about editing softwares. 

In the real world, though, I started a non-profit when I was 18 and produced a beauty pageant for individuals with developmental disabilities. I still do that now, it is called “The Exceptional Pageant”  As far as theatre goes, I started getting involved with this one theatre company when I was like 21, taking photos of their rehearsals, auditioning, and acting. Then, eventually I was asked to be on the board and started learning how to produce. 

I produced and directed a music video for one of my vocal students and from there had others asking me to do the same and eventually just started a business doing it because I realized it kind of came naturally to me.

As a multidisciplinary artist, how do you manage to balance your creative pursuits in music, acting, and directing while running your production company?

I feel like there’s the passion side of it and then the business side of it. Running the production company allows me the freedom to take on acting projects at my own leisure while also working in the creative field.  And helping others' visions come to life is rewarding. 

I tend to lean toward pursuing acting as what I feel I am most called to do, it is probably my favorite part in the process of telling a story, like I enjoy the work of the actor as opposed to the other pieces of the puzzle. But all the pieces have their fun. And I look at music as more of a way to express my personal experience. And to connect with people on a more vulnerable level.

Life in NYC can be both thrilling and challenging for creatives—what’s your experience like living and working in such a dynamic city?

I’m obsessed with NYC. I’ve always been. I love that you can go to a jam mid-week and play with some of the most talented musicians. Or sometimes, I just walk down Broadway and take in the energy of the theatre, the spectators, it is all so thrilling. You can take in so much culture and meet/observe so many amazing people from diverse walks of life. 

On the downside, it is an expensive place to be and it could be heartbreaking to see how many people are struggling. You want to connect with the people on the street that are in pain but you also have to be careful and guarded, so that, I would say, is the most challenging part. It breaks my heart every time I walk past someone asking for money. I usually have a technique where I put $5-$10 one dollar bills in my pocket and support who I feel called to support.

For young creatives dreaming of making it in NYC, what are your top tips for navigating this fast-paced and competitive environment?

Put yourself in rooms with people who have more experience than you, people who intimidate you, people you can learn from. 

Meditate. It is so easy to get swept into this or that, having that center, that breath, your health. Connecting with the pure inner version of myself is important to me.

Keep reading, keep taking lessons, learn an instrument, keep WRITING.

Be careful who you trust. Collaboration is important but there are a lot of vultures out there.

What advice would you give to artists who want to explore alternative creative ventures?

DO IT! Explore everything. You have one life, man! If you are being drawn to something by a force, why not follow it. It is never too late. Especially acting because there is quite literally a place for every type of human, and animals, I mean maybe your dog is the next Airbud, you know? Haha but take an acting class. Go to a drama book shop and read some plays. Join Backstage or Actors Access and start submitting yourself, tape some auditions, see where it goes. Write a song, post it on social media. We have that luxury where making art is so accessible.  

Tips for anyone who wants to get into your industry (music or film) 

Never stop learning, take everything in. If you feel called to do something, there is a reason. Even if it feels like a saturated industry, there is room for you if you feel it in your soul. Writing is acting and living your life is connecting. With everything going on in the world, art may be the most important part to keep us connected as humans. Explore all the ideas, sometimes it takes 20 bad ideas to get to the golden one. If you want it that bad, you should live and breathe it. Read plays, go to the theatre, learn guitar, see concerts, watch interviews, put yourself in the world that you dream to live in. 

With new music in the works, what excites you most about your musical journey?

The fact that I am finally using my voice to tell my story. I’m not doing it for someone else. I am sharing my personal experiences. I also love performing on stage. To be able to do that again, with a live band, is what I am most excited about for the future.

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

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

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

How did you get your start in music?

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

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

Share 1 top strategy for content marketing for artists in 2025

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

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

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

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

Tips for anyone who wants to get into your industry

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

What are you listening to at the moment?

Bonnie Calista - Sunday Eve, Baby

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

Amy Whinehouse - Moody’s mood for love

Footshooter - Obelisk feat. Natty Wylah & brother portrait

Crafty 893 - Nothing Left

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Connect with Lucy Michael on LinkedIn | Tru Thoughts

Iona Thomas: Sharing Careers and Opportunities in Electronic Music with Doors Open

Iona works on Resident Advisor’s not-for-profit jobs and opportunities platform Doors Open, as well as managing their Community Partnerships to build out RA’s network across the globe. Iona has worked on these initiatives and been part of the RA team for almost three years.

Previously to RA, Iona was heavily involved with iconic London club space Dance Tunnel, where she made her way into the electronic music world as a DJ and industry pro.

Doors Open has recently been relaunched as a CIC (Community Interest Company), meaning that 100% of profits goes back into developing the next generation of artists and industry folk in the electronic music world.

Also featuring a new website and optimised functionalities and resources for learners, users and employers, the Doors Open platform is an essential tool in developing a healthy eco system for electronic music culture 

How did you get your start in music?

My music industry journey begins in the basement venues of Dalston circa 2013.

I started working on the door at Birthdays (now The Divine) for a few months before moving to Dance Tunnel (now the Karaoke Hole) where I worked on the door until its closure in Summer 2016 with intermittent stints working artist liaison (AL)  and on the bar. From there, I started doing more AL work alongside various event production roles at festivals which I found really engaging and gave me a good overview of what goes into producing and managing events. 

I’ve since worked in event management, programming/curation, show advancing, review writing, sound engineering and teaching (along with many more roles outside music!) before landing at Resident Advisor in 2019 to work part time in the platform support team dealing with customer and promoter queries then moving into my current role in the community team.

Describe a day in your life as Doors Open & Community Partnerships Manager for RA 

My job involves establishing and maintaining strategic partnerships with other music industry entities and not for profit organisations to shape RA’s programme of community initiatives and maximise their impact. I also project manage these initiatives from ideation, through planning stages, to event management and hosting during the live events (both IRL and online). I also manage all aspects of the Doors Open platform which involves website maintenance, account management for employers, new business development, and social media management, alongside running the Doors Open programme of events.

What’s your top tip for breaking into your industry and landing your dream job?

In my experience, working at music venues, nightclubs, record stores, and festivals all present good entry points to the music industry.

Everyone's path is different, but if you have to break into the music industry without a financial safety net or preexisting connections, you’ll likely take quite a roundabout path as you work out where you want to focus, so you might as well enjoy the process - try out as many different jobs as you can and do them all to the best of your ability, learning as much as possible along the way. 

Talk to the people around you and ask about their roles, it’s a great way to get an idea of the bigger picture of what you’re working on, and you never know which conversations might spark an interest in you or lead to further opportunities.

Learning what roles are out there and what they entail will also help you to work out where you fit into the industry - on the Doors Open website we’re building an archive of interviews called ‘The Glossary,” exploring the different roles within music which you can browse here.

Having certain skills under your belt will put you in good stead with most music industry employers, such as: graphic design, content creation, digital marketing, copywriting, photography/videography, video/audio editing, project management and SPREADSHEETS. Working knowledge in areas like these are all attractive to employers, and are good examples of things you might end up doing even if they sit outside your core job description, so stay on the lookout for training opportunities or opportunities to pick up these skills learning on jobs.

You can also apply to come and be a part of a Doors Open: Unlocked event - they happen both in person and online and we also host the recorded workshops and talks on our YouTube channel. 

Keep an eye on our Instagram for news on new Doors Open programmes and initiatives.

Tips for staying grounded on a tough day

Of course it’s a case of different strokes for different folks, but I think moving your body is a universally good way to relieve tension and change perspective. Going outside and stretching your legs and eyes can be a double win if you’re able to.

If I’m working from home, I turn up the speakers by my desk and sing along to my RnB playlist to relieve stress. I also recently learned that if you hum it stops you from (over)thinking, even briefly, which I’ve found calming at times.

There’s also an industry saying: “It’s PR not ER” and it is good to remember that no matter how tough it gets, lives aren’t generally hanging in the balance with most music industry jobs.

3 essential things you always carry with you in your bag

Neil’s Yard shea nut & rosehip lip balm, my phone and airpods. Super boring but I speak the truth, feel free to cut this one.

What are you listening to at the moment?

As I write this, I’m listening to Ill Logic’s 93-95 jungle mix on NTS, but the past couple of days  I’ve been listening to Dead or Alive’s You Spin Me Round a lot since it randomly popped into my head - the original and various white label remixes, mashups, bootlegs and edits - trying to find the perfect version for the club but maybe it’s just the OG? Anyway, great tune.

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Connect with Iona Thomas on LinkedIn | Doors Open

Easol's Lisa Simpson: Supporting Creators and Transforming the Experience Industry

Lisa Simpson began her journey in the music industry as Co-Founder of the snow sports and music festival Rise Festival in Europe. Frustrated by the myriad of IT tools they had to use to manage Rise, Lisa and her Co-Founder Ben created Easol as an ‘Experience-Commerce’ platform. Easol is designed to put the technology, ownership, and possibilities in the creator’s hands, from bookings, to payments, marketing, and more.

Describe a day in your life as Co-Founder of Easol.

My day typically starts around 7 a.m. I wake up, make a coffee, and maybe light some incense or a candle. I love starting the day with a journaling practice called Morning Pages, where I write three pages of whatever comes to mind. It helps clear my thoughts and prepares me for the day ahead. After that, I take a walk to our office in Hackney, London—our Easol House! We’re lucky to have such a great space to come to every day to work in with our amazing team.

My job as Chief Brand Officer is incredibly varied, which I love. I get to work with all the teams at Easol, whether it's brainstorming with the marketing team on a new campaign, finding creative ways to launch a feature with our product team, or sharing stories to champion our global community of Experience Creators.

I try to squeeze in a quick gym session at lunch, then afternoons often involve meetings with different Creators, reviewing design concepts , maybe even working on a new podcast. Evenings are for winding down—I love yoga, then early to bed and repeat!

How did your early experiences in the festival industry influence the development of Easol?

Before Easol, my husband and Co-Founder Ben and I started a snow sports and music festival called Rise in the French ski resort of Les Deux Alpes.

In the early days, growing the festival was challenging because we had to use six or seven different platforms to manage everything—one for the website, another for ticketing, payments, accommodation, transfers, equipment hire and more. This created what we describe as a "Frankenstein" of tools, stitched together under the hood. It was messy for us as the Creator and even worse for our customers, who had to navigate multiple channels to book everything. These challenges really highlighted the need for a better solution, which led us to building Easol’s all-in-one platform for your experience business. We wanted to empower Experience Creators by giving them control over every aspect of their business in one place.

Why did you believe there was a need for a platform like Easol in the experience industry?

When we were using so many different platforms to run our festival, we realized that these platforms were taking control over crucial aspects of our business—everything from our brand and the journey for our customers online, to our data, payments, and supporting our customers often, they even used our data to promote rival events! 

We got increasingly frustrated and felt like we were losing control of our own business, and we knew something had to change. We believed there was a need for a platform that would allow Experience Creators to run and sell their business in one place, where they could have full ownership and take back control over every aspect of their business,

What was the biggest hurdle you overcame when transitioning from running a festival to launching a tech platform?

Transitioning from running events and building real-life businesses to starting a technology SaaS business was a massive learning curve for us. However, in 2018, we were fortunate to be backed by Y Combinator, which is an accelerator programme for early stage start-ups in San Francisco and the first investors in businesses like AirBnb, Stripe, and Dropbox. We spent six months living and working together as a Founding team in Palo Alto in Silicon Valley, where we learned how to be laser-focused on the problem we were trying to solve, the importance of talking to your customers, understanding their needs, and how to build and launch your product. It was a critical stage to set Easol on the path to success. 

Tips for staying grounded on a tough day.

One of the values we created at Easol is about finding a constant rhythm of ‘Play, Push, Pause’. The goal is to find a balance in the middle—creating a rhythm where you find enjoyment your work, know when to push harder, and understand when and how to pause. The goal of being in this ‘equilibrium’ of the rhythm is how we can really learn to thrive. 

For me, I like to find ways to change the energy if I’m having a tough day . If I’m frustrated or receive challenging news, I’ll go outside, put on some music, get up from my desk and talk to somebody about their weekend, or light incense or a candle to change the atmosphere or the energy around me.

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

Looking back, I think I was too focused on where I would end up and long-term goals, rather than enjoying the moment and appreciating that I really was enjoying the work I was doing and the people I was working with. My advice to my younger self would be to trust yourself, find things you love doing in the moment, and don’t worry about the end game. Focus on finding people you want to work with, who energize, motivate, and inspire you, whilst doing something you really love.

What are you listening to at the moment?

Anything by Sault particularly the no.11 album . Childish Gambino’s new album is also on heavy rotation. And I’ve been listening to Barry Can’t Swim for working out which I can recommend!

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Connect with Lisa Simpson on Instagram & LinkedIn

Check out Easol

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Under One Roof: Alice Woods' Mission to Make Manchester's Dance Scene Inclusive for All

Under One Roof is on a mission to democratize Manchester's dance music scene by creating an inclusive rave experience for everyone.

Founded by Alice Woods (founder and resident of of long running female-led Manchester techno party Meat Free and shesaid.so alumn), Under one Roof is designed as a safe, welcoming, and vibrant space, it caters specifically to adults with disabilities, alongside their friends, families, and carers, who are always welcome free of charge.

Over the past eight years, Under One Roof has fostered a community that not only invites disabled clubbers onto the dancefloor but also champions disabled DJs and performers, ensuring representation both in the booth and beyond.

How did the idea for Under One Roof come about?

It basically came about after a few years of running Meat Free, I'd felt so grateful for the new community I‘d found in Manchester through dance music (after having moved here on a whim from Belfast) that I wanted to find some way of giving back, by way of widening out the inclusive dancefloor that we'd worked hard to create through Meat Free.

I knew there were still so many people in the city that did not have access to the music scene, although at that stage I didn't know how or why I could reach them. I then saw online a party somewhere else in England that was for people with disabilities and it felt like a perfect thing to replicate here in Manchester so Under one Roof was created.

I was very lucky that from the get-go, local self-advocacy organisation Manchester People First were willing to work with me on it and have been an integral part of it ever since. I couldn't have done it without their help, and especially at the very start when I had zero experience or clue what I was doing! 

Can you share some of the key experiences and feedback you've received from disabled clubbers who have attended your events?

I had, like so many of us, always taken clubbing for granted - never really even considering wheelchair access to a space let alone the social environment. Under One Roof has been a continuous learning curve as well as a huge wake-up call - it has always shocked and saddened me when I hear that someone has never been to a club or dance music event before, and they may be in their 40s - especially as it's such a formative part if growing up for so many of us. 

Whilst it's amazing to be able to be part of this first clubbing experience for people - it does highlight a major problem in the scene too. That being said, it is truly such a special, fun and authentically joyous experience that I feel so lucky to be there, and the feedback I always get from DJs is that it's one of their favourite parties they have played - no phones on the dancefloor, no egos and the most enthusiastic and energetic crowd who dance from start to finish.

Photo Credit: Mia Nowells

What role do you see the Under One Roof community playing in the future of Manchester’s music and nightlife scene?

I hope more than anything, people with disabilities can feel more welcome and comfortable in more mainstream events and that Under One Roof can offer a stepping stone to that. I'm also striving to find ways to create a more cohesive network of events and organisations across the city (and beyond) so that people with disabilities can easily find accessible events and know where to look for that information - this is something I'm working on with ticketing outlet Skiddle, so keep your eyes peeled! 

What are your future plans for Under One Roof?

Honestly I'd love for it to have no need to exist, in an ideal world all electronic music spaces would be open, accessible, safe and welcoming to everyone. But in the short term, I am constantly on the lookout for more funding - to fund DJ workshops, and create more opportunities for our djs and dancers to enjoy and participate in the kinds of experiences that the rest of us take for granted.

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Next Under One Roof Event

Thursday 5th September w/ Aletha (The Warehouse Project) & The Fat Britney
1800 - 2100
YES, 38 Charles Street
Manchester
M17DB

https://skiddle.com/e/39320832 

25 Years of MUTEK

MUTEK Festival - the international celebration of electronic music and digital creativity - celebrates its 25th anniversary edition from August 20 to 25, 2024. Artists and music lovers from all over the world will gather in Tio'tia:ke / Mooniyang / Montréal for six days of immersion in sound and visual art.

Since its creation in 2000, MUTEK and its multiple venues have been the stage for the debuts of numerous artists, many of whom are now major figures in electronic music. In 2023, over 46,000 people enjoyed a rich and diverse selection of music, all of it free.

This year, the festival will put forth almost 80 live performances in several emblematic spaces in the heart of the city, bringing digital art to public spaces and offering Montrealers and tourists a unique, sensory experience through a journey of around twenty unique installations.

From August 15 to 29, 2024, the Village Numérique will be presented free of charge between 6 p.m. and 11 p.m. in the Quartier des Spectacles, enabling everyone to discover this innovative, immersive art form.

In addition, more than 90 international experts in AI, XR, sustainability, music, architecture and video games will come together to explore the impact of technology on our lives. This edition of MUTEK’s Forum will take place from 20 to 23 August at the Monument-National and the Society for Arts and Technology (SAT), with over 60 conferences, workshops and laboratories.

Music programmer and event management expert Marie-Laure Saidani reflects on MUTEK's 25th anniversary in this special feature. With nearly 20 years of industry experience, Marie-Laure has been a co-programmer for MUTEK since 2020, contributing to the festival's esteemed reputation.

What are some special events planned to celebrate MUTEK's 25th anniversary?

MUTEK has been promoting electronic music and digital arts for 25 years. Its uniqueness lies in the predominantly live musical performances (as opposed to DJ sets). MUTEK's strength is in offering exclusive line-ups in North America, setting it apart from other festivals. However, this specificity can be a limitation, as most people do not recognize the names. Fortunately, our audience trusts us.

I remember a Reddit comment about one of our line-ups: "Are these made up names?" But, some of these artists are now performing at more mainstream festivals, for example, Honey Dijon, who played in 2018, just went on a stadium tour, or Overmono, who performed at our 20th edition and was at Osheaga this year.

To celebrate this anniversary edition, we have planned several large-scale international projects for the Experience stage (outdoors and free): Mathew Jonson, Maara, Bored Lord, Piezo, Marie Davidson, Waajeed, James K, Siete Catorce, Virginia, in addition to some artists performing live indoors and doing DJ sets outside.

Regarding digital arts, one of our special projects for this 25th anniversary is the free presentation of 23 works in public spaces for three weeks in the Quartier des spectacles. It's not the first time we've organized an exhibition, but it's the first of this scale. Its little name? Le Village Numérique. 

How has the festival managed to attract such a diverse lineup?

MUTEK aims to be a platform for multiple voices in the electronic music field. Participating in MUTEK can be an exciting moment in artists' careers. On the one hand, because MUTEK is internationally recognized for this genre of music, and on the other hand, because it can open the door to other opportunities, whether for dates in other countries or for artistic collaborations. And finally, everyone wants to come to Montreal!

The programming of our festival is built around several axes. At least 50% of our line-up are Canadian projects; artists from or living in the region (now called Canada). Some come from our “call for projects” launched every November, while others are selected following direct conversations with artists we follow. Those international projects we have been following for a long time, those we have fallen in love with in the past year during our outreach, and those suggested by our international partners (MUTEK is also based in Buenos Aires, Santiago, Mexico City, Tokyo, Barcelona, and Dubai).

MUTEKLIVE261 - Ellxandra

World Premiere at MUTEK Montréal | Édition 23 Play 2 on August 26, 2022

It is no secret that the music industry, and particularly electronic music, is dominated by men. Gender parity is always desired, never achieved, but we are often in the parity zone for performances. Over the past ten years, we made significant changes that are visible in our programming.

Presenting live performances adds an extra difficulty, requiring time to produce music, visuals, and scenography, as well as knowledge and access to instruments and equipment. The luxury of touring remains another obstacle.

For women and those identifying as women, barriers are omnipresent. We participate in the European gender parity program, Keychange. We have hosted several cohorts, whether artists or innovators. We also created the AMPLIFY D.A.I program for women or those identifying as women or non-binary in digital art and electronic music.

This project, set up and funded by the British Council, CAM, CCA, CALQ, Summer Set House Studios, MUTEK Montreal, Buenos Aires, and many other partners, lasted from 2018 to 2023, ending due to lack of funds. Each annual cohort benefited from mentoring, training, and one or two international dates, which helped create a strong and supportive network. Thanks to Patti Schmidt (Programmer from 2008 to 2019) for giving momentum to this movement.

Diversity is a cross-cutting issue, to be considered on stage and behind the scenes. The barriers faced by women are even more pronounced for women and non-binary BIPOC individuals. How can we break down these barriers and create a safe space for these artists to express themselves at MUTEK? Our entire team is aware of this context. We benefit from constructive feedback from our audience, artists, and engaged guests, which allows us to question ourselves and move forward. 

This year, we have the privilege of collaborating with Feminae Nox, a collective that promotes equity for women and BIPOC individuals who are non-binary in music and nightlife. In addition to co-presenting the Nocturne 4 dome, Feminae Nox is organizing a panel at the Forum on Friday titled “Electronic Music is Black Music - Reclaiming and Tracing Electronic Music’s Roots, Present and Future” and a workshop titled “Passion to Profession: Building a Global Brand in the Music Industry.”

Photo Credit: Bruno Destombes (MUTEK 21)

How has MUTEK influenced the local music and arts community in Montréal over the past 25 years?

MUTEK has always been a playground for artists. Many local artists (meaning artists living in Canada) have presented, and continue to present, their first-ever live performances at MUTEK. This requires a great deal of trust in the context (will the production means be efficient? Will the audience be receptive?). It's a risky endeavor. We can never thank them enough for giving us the opportunity to present them at the festival.

During MUTEK week, an entire local and international community gathers in Montreal to celebrate electronic music through performances, panels, conferences, and workshops. This stimulates creativity!

Networking is very important in music, as it can lead to new ideas, collaborations, and most importantly, sharing a collective experience.

In 2020, we launched an initiative to support Canadian artists in developing their careers: MUTEK Market. Each year, we support about twenty artists with training and workshops, and we organize meetings with festival programmers so they can promote themselves. These artists perform at the festival.

This year, we introduced a new initiative, MUTEK Incubator. This program supports 10 artists who wish to professionalize themselves through training and mentorship. Although these artists are not performing at the festival this year, they may well have the opportunity to do so in the near future! 

Eris Drew DJ set | Photo Credit: Frédérique Ménard-Aubin

What are some of your favorite moments from your time with the festival?

I have way too many fond memories of MUTEK. Before working there, it was my favorite festival, both personally and professionally. I'm talking about it in the past tense not because I don't love it anymore, but because I can't enjoy it the same way. Haha.

In the early days of MUTEK, what I loved most (sarcasm intended): there were no lines for the women's restrooms, while there was a long queue for the men! Now, there are lines everywhere, partly because the audience has diversified, but also because the restrooms are no longer gendered.

I used to love going to the AVision program at the Monument National back then. These programs, where performances combine visual scenography and sound, were (and still are) the only ones at the festival with seated places. I could alternately take naps, marvel, not understand anything, and leave wondering what had happened.

Musically : Gangpol & Mit (2007), Underground Resistance (2008), Ricardo Villalobos & ZIP (2009), Ikonika (2010), Emptyset (2011), Jeff Mills (2012), RAMZi (2013), Marie Davidson (2014), Andy Stott (2015), Aïsha devi (2016), Surgeon & Lady Starlight (2018), fuse* presents Dökk (2019) , Being capable of producing shows (2020), Phèdre (2021), Tarta Relena (2022), Deena Abdelwahed (2023)

Can you share some highlights from your time programming MUTEK?

Programming a festival involves dealing with cancellations and travel-related complications: flight delays, missed connections, lost luggage, visa delays... It's ten days of a rollercoaster.

I particularly remember the Thursday night at MTelus in 2022. The lineup included MUE, Marina Herlop, Bendik Giske, SMERZ, and Caterina Barbieri. Marina Herlop was then supposed to go on tour in the United States and needed a visa that was taking a long time to arrive. Her entire team arrived in Montreal in dribs and drabs on the morning of the concert, except for her. She was in transit to Toronto.

Caterina Barbieri | Photo Credit: BRUNODESTOM

We had to modify the soundcheck schedule every hour to allow her to do one. But her flight from Toronto to Montreal was delayed due to a thunderstorm. So we reorganized everything: the venue was already open and the shows had started, but we changed the entire running order. The other artists were very generous and agreed to change their schedules. Finally, Marina arrived in Montreal and at MTelus. The concert took place. It was a very emotional moment for the artists, the programming team, and especially the production team!

From a development perspective, the Keychange and Amplify DAI projects remain among my best memories. These programs aim to promote the place of women, people who identify as women, and non-binary genders in music and digital art. The meetings, discussions, and performances that resulted will remain etched in my memory. I could probably elaborate on this point with many other anecdotes, but we could talk about that around a coffee !

What are you most excited for attendees to experience at this year's edition?

I can't wait to reconnect with the audience and the artists for a week and feel that ultra-creative and effervescent atmosphere that's unique to any festival.

I'm really looking forward to seeing many local artists: G L O W Z I, who is presenting a new live show; ÈBONY, who is releasing an album on the day of their performance; CHXMERAS, West Coast artists who released an album this year titled "Terminal City"; Jacques Greene, who is presenting the premiere of his live set with Nosaj Thing; the new AV live set for the dome by Sinjin Hawke and Zora Jones; Tati au miel's performance, who is also preparing an exhibition for the fall; Dj Hermano and OJPB, who will present "Club Merengue"; CLOUD BODIES, a dance performance designed for the dome; and Liliane Chlela, who will present her new album "Anatomy of a Jerk."

I could spend hours telling you everything I'm looking forward to. I can't wait to see it all, but I have to restrain myself because it's impossible to see everything (we share the events with my colleagues). The image of MUTEK may seem austere, but it's much more fun than you might think.

Do you have any artist recommendations for the audience to check out at the new venue New City Gas?

A stellar lineup in a unique venue, still relatively unknown to our audience. A former factory and EDM temple in Montreal, this place is also a superb concert hall. Last year, the reaction from the public and the NCG was very positive, so we decided to come back with an even more ambitious proposal.

Patrick Watson will present an experimental show, in the same vein as what he proposed in 2020. Kara-Lis Coverdale, whom we have been following for years, and Colin Stetson, a saxophonist with whom we have long wanted to collaborate, will also be part of this program.

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MUTEK Website | MUTEK Market 

Feminae Nox: 

https://montreal.mutek.org/en/news/feminae-nox-x-mutek-innovating-the-future-of-electronic-music 

Keychange | Amplify DAI | Village Numérique

Monica Mirabile: This Is A Performance School

Photo Credit: Max Lakner

Monica Mirabile (b. Clearwater, Florida in 1988) is a performance artist living in NYC. She is a choreographer, painter, movement director, coach and educator.

Monica often works with musicians and has choreographed and movement directed live tours and music videos for SOPHIE, Mitski, Yaeji, Kenya Grace, Zsela, Zia Anger & Maggie Rogers. Her performance work has been in the Guggenheim, The Whitney, Performance Space New York, The Broad Museum, PS1, Miami Art Basel, HAU Berlin, NADA, Performa and the Queens Museum among others.

Mirabile is also one half of the performance duo Fluct, co-founded Otion Front Studio in 2014, co-founded THIS IS A PERFORMANCE school in 2023 and is the Director of Open Movement at Performance Space New York in the East Village.

What moments or experiences influenced the beginning of your career as an artist?

I always feel like i'm at the beginning. Way back when I was 4/5 years old, I was brought to a crab shack in Florida with my family. Brown craft paper was spread over the table so that when they dump the crabs the mess is contained. They set out crayons to draw on the table and my mom looked at me and drew a portrait of me. I was so excited and I told her I wanted to draw like that and I honestly decided right then that I wanted to be an artist. She gave me a sketchbook that week and I've never been without one since. That was destiny or something sacred I suppose, though my sketchbooks are mostly choreography notes, performance ideas and spells now. I actually just organized a surprise birthday party for my mom and we all wrote her 66 things we love about her. I wrote “i love that you drew a picture of me when i was little that inspired me so much that it became my career”.

How has your experience founding Otion Front Studio shaped your approach to connecting artistic communities in Brooklyn, New York?

Otion Front Studio grew out of many previous collective approaches earlier in my life. Before, Otion there were several girl gangs, an anarcho experimental dance collective and a diy theater in Baltimore, always co organized.

When I moved to NY with Sigrid Lauren after the birth of Fluct, the same things moved me, maybe it was the desire for an alternative without rigid structure or hierarchy.  I had known at that point that I cared about processing information through movement. I loved “rehearsals” being these potent gestation spaces with slippage between making sense and nonsense.

FlucT [Photo Credit: Yael Malka]

My Dads girlfriend, Donna, had given me $5k after she won a malpractice lawsuit. She won that lawsuit after losing the ability to walk. I'm so honored to have known her, she’s been gone now for 9 years. Her gift is maybe a testament to what I love about this kind of work, something where transformation can occur. I’m really just so grateful to all of the people who have come together to become friends and make this kind of work together.

Today, we're still there. It’s actually 10 years old this year. Fostering something for this long has allowed me to see that collectivity and support is amoebic in nature, it grows and changes over time. Today, I use Otion to hold rehearsals with the musicians and clients I'm working with and it continues to have this enchanted spirit in the walls as the community grows.

What was behind the creation of FlucT, and how does it continue to influence your artistic vision?

Fluct was born out of a need and a deep frustration. Sigrid and I were connected by our experiences of being young women under patriarchal capitalism- we were driven to exorcise and soothe in a playful creative processing with our bodies. We were bound up with each other's liberation in knowing that the ugly was beautiful, that support existed and that sometimes you could find the antidote in the problem. It will always influence my artistic vision. I found things in our practice that allowed me to be free and curious and ignorant- knowing answers were sometimes dangerous and that this was a kind of meditative bliss mixed with all that hurt. 

How has your experience directing live tours and videos for musicians such as SOPHIE, Mitski, and Yaeji influenced your artistic approach and collaborations within the music industry?

Working in collaboration is very dna, there is a helix that is unique to each artist and situation. I get really excited to see the material that spins off of a musician. Its body and emotion, lyrics, textures and of course sound. Every live tour is the caldron of depth that comes from an impulsive practice merged with what it took to make the album. Which is often a lot of emotion, desire, practical stress and yearning.

Monica Mirabile on stage with SOPHIE

When i'm working with an artist, I like to listen and shape what is there into something ritualistic or actually felt rather than develop something precomposed. With Mitski, it was about the light… I wanted the light to be a character in her show and i was so drawn to it, inspired by the lyrics.

We had a lot of fun letting fun mean engaging with the work. I got to work closely with her lighting designer Andy Watson and my favorite moment became a reality when she waltzes with the light in Heaven. Sophie became a friend and hired me and Sigrid to choreograph her first live tour after she transitioned. I felt that we were guiding each other through a new textural experience in that tour, that transformation was very visceral and palpable. I really could go on and on about the details in every experience ive had with the people ive worked with, i like to think about it. As far as being in the music industry, I wouldn't say that the music industry makes it easy, logistics are complicated, but I know what I need to make the environment conducive for this work, so it gets a little easier every time.

Can you explain more about the concept of authority in your work and how it manifests across different mediums?

Maybe the best way to answer is that i've always asked some version of the question, ‘Is it god or am I dog?’( which is also the title of a Fluct piece from 2018). It means, Is it that the conditions of my life are precomposed by an authority outside of my control or am i being controlled? Have I become obedient to the conditions? What has authority? Is it the culture, the government, the system, the spirit of chance? the god of me? What authority do I have to control what? What am I obedient to? It’s a riddle. There are many interpretations. This question shows up in everything I do. But in my life I've studied the way we absorb information without consent and I recognize how our bodies and behavior are affected by holding onto this information. Currently I know it is both god and dog in the act of processing movement. 

Monica Mirabile with Eartheater [Photo Credit: Kat Nijmedden]

What was the creative process like for your immersive performance "GUIDANCE" on March 1st, 2024, at your painting exhibition at Albert Projects, especially regarding your collaboration with Eartheater?

I've been interested in near death experiences for awhile, I've listened to thousands of stories.The soundtrack is made up of these stories, sound clips of my family and music including Eartheater. After a 15 year hiatus, I started painting again after my dad died in 2020. The painting show at Albert Projects was titled Guidance ,the process of making these paintings felt like being guided, often adding shadow and light to let something be revealed.

Eartheater and I have been friends for over a decade and have collaborated many times. In the performance she guided with her movement, voice and light.

The performance was a kind of ritual in more ways than I can say right now, but I had been searching for the light. In the performance, Eartheater finds me in the dark with the light. At one point she puts the light in my mouth and I swallow it, it lets me move and then Alex helps me through the struggle of my body before holding me. It was a testament of growth and support for both of us.

Do you have any dream collaborations in mind, either within the realm of visual arts or music, that you aspire to pursue in the future?

Honestly, I do but i dont know who they are yet, i feel very let god about connections. I know i want to do more scaled up performances and it seems more and more my performances are involving my paintings.

Could you walk us through a typical day in your life as an artist and choreographer?

Photo Credit: Max Lakner

I’m not sure that i have a typical day. I wake up, i try to eat healthy, right now im focusing on a healthy liver, the seat of vitality. I sometimes do yoga. I often meditate and then i go to my studio, whether its my painting studio or movement studio depends on what i’m working on.

Right now I am writing a new performance so a lot of my time is spent in meditation and writing. Soon I will contact performers and start to workshop in the studio, it will be playful at first and then it will begin to take form.

This coming Saturday i am movement directing a music video for an artist named Yatta in Forest Hills. We have had lunches and zoom calls to set the scene. I’ll arrive on Saturday and we will create compositions before each shot and rehearse in the margins. ill work with the artist, the band, the director and the DP to bring the dream to life. The days change and i love that.

How do you stay grounded and focused on a tough day?

On a tough day, I meditate. I let go and i go in. To ground, Ill do a body scan where i  identify sensations in my body and let myself explore there. I have a practice i call ‘unblocking’ that allows me to guide myself through these sensations and land in a pretty psychedelic impulse. I also guide others, you can find it on my website. Tough days are annoying but in retrospect they always have something to tell us, like “walk a little further” ( which is also what my girlfriend tells me).

What is the most valuable piece of advice you have for artists aspiring to work in your field?

Nobody can do what you do. I think we often dont recognize when our insecurities are sneaky telling us to conform, especially with social media giving so much input all of the time. Truthfully, you are made up of very unique experiences that inform your body language and that is not replicable, it’s like a fingerprint. If you are listening to your body, you'll find what feels right, trust it. Sometimes people need that thing only you have to offer. Continue fighting for liberation.

What are your aspirations or goals for the future of your artistic career?

To continue listening.

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** Interview by ninakeh for shesaid.so

Monica Mirabile’s New Projects:

“Viscous” Painting show at Current in Baltimore, MD 

Opening July 27th. Closing August 17th.

THIS IS A PERFORMANCE school 

Sept 7-14th in Lincolnville Maine. Register online.

Open Movement  October 6th - June 15th 

Every Sunday 12-6pm at Performance Space New York in East Village, New York 

Paradise Container, A new performance by Mara Mckevitt and Monica Mirabile

January 2026 at Pioneer Works - more soon.

Website & More Links

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Highlighting the Opportunities Within South Asian Music

South Asian Heritage Month (SAHM) is an annual celebration that runs from July 18 to August 17, honoring the rich cultures, histories, and contributions of people with roots in South Asian countries, including India, Pakistan, Bangladesh, Sri Lanka, Afghanistan, Nepal, Bhutan, and the Maldives.

Launched in 2020, SAHM aims to foster understanding and appreciation of the diverse heritage that connects the South Asian diaspora to the UK. This feature looks at how South Asian music is flourishing and reaching new audiences, with many positive shifts currently happening within the UK South Asian music ecosystem. These shifts are being driven by global trends and pioneering work being done in the UK.

In this interview, music diversity specialist, Sania Haq, explains more about these positive developments, including her involvement with pioneering South Asian organisations such as BollyCo and Going South. Sania Haq also discusses the wider importance of South Asian representation within music, in relation to inclusivity and dismantling cultural stereotypes.

Sania, your work spans over a decade within the music industry. What are some key insights from your research that have significantly impacted the industry?

For almost a decade now, I’ve specialised in music research, working on some of the industry’s flagship studies for trade bodies, labels, and platforms such as Spotify, YouTube, and SoundCloud. One of my proudest achievements is helping the industry better understand the importance and value of global music markets and diverse listeners.

In around 2015, when I was Head of Research at AudienceNet, I began gathering data on people’s interest in music in different languages and global sounds. I noticed this insight was missing and believed it would encourage the industry to explore global music more. 

A few years later, we started to see more industry interest in global music markets. For example, the Middle East and North Africa, and Sub-Saharan Africa emerged as the fastest-growing regions by some margin. I have supported the industry in gaining a deeper understanding of key new markets, such as Saudi Arabia, the UAE, Nigeria, India, and Indonesia. This research has helped drive a more inclusive approach in the industry, recognizing the richness and potential of diverse musical landscapes.

What inspired you to create the Bye to Stereotypes platform, and what are some notable successes you've achieved so far?

I set up Bye to Stereotypes as a way to integrate my work in research, training, and strategy. While I have a deep passion for research and everything I do is data-driven, I wanted to focus more on actionable outcomes. 

I've always been passionate about using data to create social impact, and it has been a real privilege to support international organizations in applying United Nations guidelines on leveraging data to achieve gender equality and address societal inequalities, particularly those affecting marginalized communities.

In the music industry, I've had the opportunity to write, speak, and work closely with organizations to drive change in relation to diversity. This includes being part of the team behind this year’s dedicated South Asian space at Glastonbury.

What are some common stereotypes about South Asian music and artists that you aim to dispel through your work?

Stereotypes about South Asian music have often hindered its recognition and respect within the wider industry, in the UK and beyond. When discussing South Asian music, people often resort to referencing stereotypes like "light bulb" dance moves, which can lead to underconfidence within communities and a feeling of needing to hide one's love for the genre. However, there is a shifting tide. Artists like Diljit Dosanjh, who authentically represent South Asian music, are breaking through mainstream barriers, as evidenced by his performance at Coachella. Diljit’s success is inspiring people to embrace South Asian music more openly. At BollyCo and through my work with organizations like Going South, we're actively working to dispel these stereotypes.

Congratulations on being part of the development of the first major South Asian space ‘Arrivals’ (in collaboration with Dialled In, Daytimers and Going South) at Glastonbury 2024. Can you share what inspired this initiative and how you envision it influencing the future of South Asian music in mainstream festivals?

Over the last few years, I’ve been supporting the team at Going South, spearheaded by legendary DJ Bobby Friction, to highlight the need for greater South Asian representation at mainstream festivals. Given that South Asians comprise around 9% of the population, it is surprising that they are not more prominently featured at festivals, either as artists or attendees.

South Asian music is currently experiencing a surge in popularity and being embraced by global festivals, exemplified by Diljit Dosanjh's performance at Coachella. Thus, increasing South Asian representation at festivals isn't solely a Diversity, Equity & Inclusion initiative; it can also enhance the global profile of these festivals and attract a broader audience.

Credit: Photo by David Fisher/Shutterstock (12794063gk)Joy Crookes42nd BRIT Awards, Arrivals, The O2 Arena, London, UK - 08 Feb 2022 David Fisher/Shutterstock

While South Asian Melas have long been a part of the UK's music ecosystem, these events are often free or very affordable (e.g. £20). Consequently, both South Asian and non-South Asian audiences may not value South Asian artists to the same extent as more mainstream acts. When South Asian artists begin to feature more prominently in mainstream settings such as festivals or awards shows, it will positively influence audience perceptions and encourage greater investment of time and money in supporting these artists. This, in turn, will help South Asian music from the UK diaspora to thrive.

“Glastonbury 2024 represents an important milestone, with Going South collaborating with culture collectives Dialled In and Daytimers to create the Arrivals space.” (Sania Haq)

“There have been waves of south Asian takeovers [at Glastonbury] before, where artists would come and perform on existing spaces and stages, but this space is created entirely by us. We’ve never been given 360-degree scope like this before.” (Ahsan-Elahi Shujaat, director of events at Dialled In Guardian, June 2024)

I hope it is just the beginning of a broader movement to integrate South Asian music into the mainstream festival circuit. I’m looking forward to supporting the industry to make this a reality.

Despite the recent successes, South Asian diaspora artists still face challenges such as lack of exposure and support. What do you think are the most crucial steps that need to be taken to overcome these obstacles and sustain the momentum?

South Asian diaspora artists face a number of unique challenges:

South Asian audiences are spoilt for choice—they have access to the best music coming out of their countries of origin as well as the best of Western music. As a diaspora artist, you are competing with both Bollywood hits and global icons like Taylor Swift. No matter how talented you are, it is hard to cut through all that noise to reach audiences.

We lack in-depth data on South Asian music audiences in the UK, which is something I’m working to improve. For now, we can get an understanding of some of the challenges and opportunities for South Asian artists by looking at streaming data, ticket sales, and social media trends.

Broadly, we see that awareness and exposure are significant challenges for diaspora artists. For example, they are rarely seen in mainstream settings. This leads to less awareness and, sadly, less consideration among potential audiences.

Diljit Dosanjh: Born to Shine/G.O.A.T. | The Tonight Show Starring Jimmy Fallon (Jun 18, 2024)

Thankfully, we are seeing some success for artists from the global diaspora, such as AP Dhillon and Karan Aujla. However, these artists tend to have grown up in South Asia and then moved to Western countries later in life. They are therefore able to straddle cultures and have a broader audience that is likely to be aware of and interested in them (i.e. diaspora audiences plus over a billion people in South Asia).

While artists born and brought up outside South Asia do still have the opportunity to appeal globally, as an industry, we need to help them better navigate very specific challenges for diaspora artists.

To sustain the momentum and overcome these obstacles, we need to:

• Increase Representation: Ensure that South Asian artists are featured in mainstream settings, from festivals to award shows.

• Enhance Visibility: Use data from surveys, streaming, ticket sales, and social media to understand audience preferences and trends, then use this insight to promote diaspora artists more effectively.

• Audience Engagement Support: Provide resources and support to help artists born and raised outside South Asia to better connect with both Western and South Asian audiences.

• Community Engagement: Foster strong community support and grassroots movements to build a dedicated fanbase.

By addressing these areas, we can create a more supportive environment for South Asian diaspora artists, giving them a fairer opportunity to achieve success.

BollyCo

Can you tell us more about BollyCo and the collaborations it has been involved in?

BollyCo is a London-based, South Asian-focused dance, content, and events company. Established in 2013, it is female-founded and led by choreographer, producer, host, and entrepreneur Nileeka Bose. I’ve been working with Nileeka since she launched BollyCo, and focus on our brand and partnerships management.

The company’s mission is to be a place where "music meets dance," supporting the music industry and brands through dance-related services and content.We’ve had the pleasure of working with a broad range of South Asian and non-South Asian artists, including DJ Snake, Steven Wilson, Badshah, Stefflon Don, and Sidhu Moose Wala.

Our creative direction and choreography have also been featured in globally recognized productions such as Marvel Studios' The Eternals and Universal Pictures' Polite Society, as well as landmark shows like the BBC Proms at the Royal Albert Hall and the Queen's Platinum Jubilee Concert. We also curate our own shows under the brand "BollyCo Live," supporting diaspora artists and also bringing global South Asian talent to the UK. 

We've collaborated with major brands like Adidas, Burberry, Deliveroo, Peloton, and Samsung, advising on and curating events and campaigns that celebrate South Asia’s rich and diverse heritage.

With our social media platforms reaching an average of 1 million viewers each month, BollyCo has become a vibrant space for celebrating, embracing, and expressing South Asian identity. Our commitment to uplifting South Asian culture with respect and reverence has made us a trusted partner for brands and artists who care as deeply about these audiences as we do.

What do you see as the most promising opportunities for South Asian music to continue its rise globally?

South Asian music is thriving and connecting with audiences both in the region and within the diaspora, largely driven by the rapid spread of streaming and trends through social media. Unlike a few years ago, when the strategy for global success focused on trying to "cross over" to engage broader, non-South Asian audiences, the current focus is on creating authentic music.

Diljit Dosanjh exemplifies this success. He sings in Punjabi, dresses traditionally, and speaks little English, yet he finds himself on global platforms such as Coachella and the Jimmy Fallon show. His success shows that the wider industry is also starting to see the commercial value of cultural authenticity.

However, supporting artists from the diaspora still presents challenges. They are not finding it easy to benefit from the global rise of South Asian music due to their unique circumstances. The UK music ecosystem needs to support these artists more effectively by raising awareness of their work and providing guidance on navigating their specific challenges. With this support, diaspora artists can add significant value to the UK music industry, including the potential to reach massive audiences across South Asia.

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Connect with Sania Haq

Bye To Stereotypes Website | LinkedIn | Instagram

Connect with Nileeka Bose

Bolly Co London Website | Instagram

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Michelle Kambasha: Curating Black Alternative Music on 'Black Radical'

Michelle Kambasha is a music publicist, journalist, public speaker and educator. Her work primarily focuses on the intersection of Black representation in alternative music spaces. As a publicist, she worked at Secretly Group and Satellite414 covering acts like Sharon Van Etten, Bon Iver, William Eggleston, Lonnie Holley, Jamila Woods, Moses Sumney, Dave, Amber Mark and more.

She also frequently writes for major publications such as the Guardian, The Telegraph, The Independent and frequently hosts industry focused talks on panels alongside running her PR company, KP Communications (where she works with Kara Jackson, Jamila Woods, Aja Monet, Madison McFerrin) as well as organisations like The Black Curriculum.

Michelle launched “Black Radical” (a new substack newsletter that will exclusively feature black artists that perform in alternative and/or less mainstream music genres e.g. post punk, singer-songwriter, indie, jazz, guitars, rock, experimental etc.) in early July.

"Black Radical" subscribers already include top music journalists, independent and major label figures, booking agents, sync executives, and music fans. Artists of any experience, age, gender, and level are welcome, and coverage isn’t beholden to upcoming release schedules.

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How did you start your career in music?

I started my career properly as a junior music publicist at Secretly Group (Dead Oceans, Jagjawar and Secretly Canadian). It was a very exciting time to be working at the company; they had a small team, dedicated to establishing the label in the UK and Europe. The staff was  experienced and came from different music backgrounds. Being only 21 at the time, I was really lucky to work with people who were willing to help guide me. 

At the time, the label was known for working with artists that were firmly in the US indie-rock tradition, such as the War on Drugs, Bon Iver, Black Mountain, Sharon Van Etten and more. In the years that I worked at the company, the label progressed to being much more diverse - both in its roster and its workforce. It meant that I had the privilege of working with artists of the global majority like Jamila Woods, Moses Sumney, Japanese Breakfast, Lonnie Holley and Durand Jones. It was clear that there were higher-ups in the organisation that were making a concerted effort to stay true to themselves and evolve while doing so. It’s an ethos that I’ve taken with me and embedded more radically to my own working practices. 

What inspired you to create the black radical newsletter? 

It was a combination of things. Over the last year, I began to renegotiate what I wanted my participation in the music industry to look like. I’d spent many years as a publicist, with a few other things tacked on, but I felt I needed to be re-energised in a different way, that combined my expertise and my values. I did a personal audit and my interests and passions began to reveal themselves. The key question became: how do I create a simple project that combines my work as a publicist/writer with my love of Black alternative and radical traditions within music? Many ideas floated, then suddenly the idea for this newsletter came to me. Over the last five or so years, there’s been a re-emergence of Black alternative musicians in the indie mainstream (we have always been there), which I’ve found encouraging. But I’ve often found it frustrating that some writers struggled to tackle the racial question in a nuanced way or reduced stories to ones merely about race, when it isn’t called for. 

Article by Michelle Kambasha at the Guardian | Jun 2022

Oftentimes Black musicians have to offer up their identities on a platter, only for it to be reduced to racialised headlines and questions that had nothing to do with their music. That, or they’ve mishandled the questions that were about race. Beyond articles, I’ve seen this in action as a publicist working for Black alternative artists. 

At the same time, I was reading the work of different poets, journalists, artists and theorists who tackled the questions of Black alternative existence: Saidiya Hartman, Kodwo Eshun, Neil Kulkarni, Craig Jenkins, Hanif Abduraqqib, Dele Fadele, Greg Tate, Hilton Als, Amiri Baraka, Toni Morrison, James Baldwin, June Jordan, Christina Sharpe, Julie Dash, folk of the Black Arts Movement, Horace Ove, Stephanie Phillips, John Akomfrah and the Black Audio Film Collective and many many more - this is where the radical element of the newsletter comes into play.

I am also concerned with Black publications that don’t highlight the work of Black alternative musicians. While they may not have the influence of white media, I believe they have a responsibility in showing all of us. This isn’t a new struggle - even when there were more Black titles, there is a long tradition of them not covering key aspects of Black music tradition, be it jazz, blues and electronic music. 

Was there a particular event or realisation that made you feel the need to create a dedicated platform for showcasing black artists in alternative music genres?

Along with some of what I’ve mentioned already, I was particularly catalysed by how Black Music Month was covered by major organisations like Apple, NPR, Grammy.com and many more. There was a keen focus on Black music of the R&B and hip-hop tradition, but nothing about our place in genres like rock, punk, alternative and (maybe most shockingly) electronic music and jazz.

Omitting our presence further erodes the public perception that we weren’t/aren’t present in this space, when quote the opposite is true. It felt like a huge oversight and missed opportunity. More generally, It’s the same publications and organisations that commission one-off articles about the reclamation of Black people in these spaces, but elsewhere continue to categorise us as being ‘just one thing’. There has been no real commitment. The newsletter just feels like a very small way of re-addressing this issue. 

oreglo - Not Real People (Full EP) on Brownswood Recordings YouTube Channel

How do you find and select artists and what criteria do they have to meet?

Simply, it's music that I like, whether that comes from something that I've organically found, a PR has sent to me and they think that I might like or something that a friend or another peer has sent to me because they think that it might be up my street. I take submissions from anyone, whether it's formal or informal. In terms of the criteria, the artists have to be black or they have to be a member of a group that might have other white members in it. I'm quite a conversationalist so they have to be artists that are really interested in getting into the weeds of their kind of creative process and their influences.

The main agenda is to be excited about the music that I'm covering. I am also making sure that it is for the sake of the music. Nothing is going to be brought in to it. It’s not about a specific album timeline or anything like that. One of the great things about doing something like this is that I don't have to align with editorial policies - e.g, to work towards a word count or pick up and on a specific agenda, something that's topical. That's not really the point of this newsletter. I’m hoping that people come on that journey with me.

What do you hope readers and subscribers take away from the newsletter? 

My hope is that readers are left with a more holistic view of Black music and a deeper understanding of what it takes to make their music and art - one that lives within or goes beyond their racial identities. It might be the case that these artists don’t talk about race at all, since it may not be a central focus of the music they put it out. 

Introducing people to new ways of seeing how music works with other artistic disciplines like film, art and poetry and radical thought is also going to be a big focus. I also want people to just discover new music that they might be interested in - and by new, I mean new to them (and me!). The newsletter won’t be beholden to just new bands or new releases - it’ll also work like the Wayback machine. 

What impact are you aiming to achieve within the music community?

My aim is to purely platform the art of what I call the Black Alternative (which is inclusive of more than just music) and hope that in some small and humble way, we begin to make a more sustained and solid effort to change how we discuss Black alternative music. I also want Black people to know and internalise the breadth of what Black music is. I love the work that the likes of Skepta are doing to introduce Black people to Black electronic music roots. There needs to be an understanding that music genres that appear to be predominantly performed by white people is, more often than not, Black music. I’m also really keen to partner up with other initiatives that are sympathetic to this work.

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If you’re an artist that fits the remit, or knows artists that do, please email michelle kambasha on blkradicals@gmail.com

Subscribe to the Substack here: https://blackradical.substack.com/

Links to social: LinkedIn

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The Erasure of Female Guitarists in the Media: Sister Rosetta Tharpe and the Forgotten Guitar Goddesses of Rock and Blues

Izzy Fincher is a classical guitarist, writer, and activist based in Milwaukee. As a queer Japanese American woman, Izzy is passionate about sharing the stories of diverse BIPOC and LGBTQ+ creatives through research and activism.

Izzy is currently pursuing a master’s degree in Classical Guitar Performance and Graduate Certificate in Women’s and Gender Studies at the University of Wisconsin-Milwaukee. Her research focuses on journalism, media and mass communication, popular music, intersectional feminism, racism, and LGBTQIA+ rights.

Izzy’s honors thesis, “An examination of mainstream media’s treatment of female guitarists,” has been published in the Journal of Popular Music Studies and featured in Guitar World. She has presented her research at the National Conference on Undergraduate Research, the UW-Madison Women’s and Gender Studies Consortium, the Guitar Foundation of America Conference, and the International Communication Association Conference.

In 2023, Izzy graduated from CU Boulder with bachelor’s degrees in Classical Guitar Performance and Journalism. She received the Outstanding Graduating Senior Award from the University of Colorado Boulder’s College of Music and the College of Media, Communication and Information’s William W. White Outstanding Graduate. Awards include the Mu Phi Epsilon Foundation’s Gerke Collegiate Award, the Presser Foundation’s Undergraduate Scholar Award, and the UW Milwaukee Women’s and Gender Studies Department’s 2024 Florence L. Healy Scholarship.

What initially inspired you to focus your research on the representation of female guitarists in mainstream media? Has your own experience as a female guitarist and journalist influenced your research?

As a queer Japanese American woman, I am interested in researching the intersection of journalism, media and mass communication, feminism, racism, LGBTQIA+ rights, and popular music. The inspiration for this project, “Mainstream Media’s Treatment of Female Guitarists,” came from my personal experiences of the sexism and gender-based barriers faced by women in guitar and my passion for music journalism. As a young musician, I didn’t have any female role models in guitar and rarely saw women featured in male-dominated music magazines, such as Guitar World, Guitar Player, Acoustic Guitar, and Rolling Stone.

With my experiences as a female guitarist and journalist, I am very passionate about representation for BIPOC and LGBTQ+ creatives in the arts and media. For my undergraduate honors thesis in journalism, I decided to research media representations of 43 influential female guitarists in 10 mainstream publications from the 1960s to 2023.

This is the first research paper published in a peer-reviewed academic journal about this topic; therefore, it is an important step toward raising awareness of the erasure and marginalization of female guitarists in the music press.

Photograph of Sister Rosetta Tharpe, taken by James J. Kriegsmann. Courtesy of user Blz 2049 of Wikimedia Commons.

Who are some of the 43 female guitarists you mention in your analysis?

The list of 43 players comes from a combination of three lists: Rolling Stone’s “100 Greatest Guitarists” (2015); Guitar Player’s “50 Sensational Female Guitarists” (2020); and She Shreds Media’s “7 Guitarists That Prove Black Women Were Pioneers In Music History” (2020).

The study features many pioneering female guitarists in blues and rock, including Sister Rosetta Tharpe, the “Godmother of Rock ’n’ Roll”; Lady Bo (Peggy Jones), the “First Lady of Guitar;” Memphis Minnie, the “Queen of Blues”’ Elizabeth Cotten; Poison Ivy (Kristy Marlana Wallace), the “Queen of Psychobilly Punk”; Annie Clark (“St. Vincent”); Kaki King; Joni Mitchell; Joan Jett; and Bonnie Raitt.

What were some of the most surprising or unexpected findings from your research?

Although the underrepresentation of female guitarists is hardly surprising, the extent to which women in guitar have been systematically erased and marginalized in the American music press is still surprising. The findings of this study illustrate how the systemic gender and racial inequities of the press, the masculinization of guitar, and the whitewashing and patriarchal structures of rock have contributed to the erasure of female guitarists over six decades. According to this study, 16.3% of the women didn’t appear in a single article, and 46% were mentioned in fewer than 10 articles. In particular, Black women received even less press coverage: 27.9% of the women featured are Black, yet they were only featured in 10.6% of the articles analyzed.

How did the representation of female guitarists differ across various decades, from the 1960s to the present?

During the golden age of music journalism, male journalists rarely featured female guitarists and displayed blatant sexism in their coverage when they did. For example, In “Fanny, a Four-Girl Rock Group, Poses a Challenge to Male Ego,” the critic writes, “ Going to see an all-girl rock group, one has to bring a mixture of condescension and paranoia. What if they are good? What will that possibility do to the old male ego?” With the diversification of newsrooms and the rise of digital journalism, the representation for female guitarists has increased and improved in legacy mainstream media. The music press has begun to produce more content about female guitarists, such as the coverage of Susan Tedeschi, Orianthi, Kaki King, and Nita Strauss.

In particular, St. Vincent has received far more coverage relative to her career length (70 articles in 2009-2023) than Joni Mitchell and Bonnie Raitt in their entire careers (91 articles each since the 60s and 70s). Certain publications, such as NPR, Rolling Stone, and The New York Times, have started producing retrospective articles about influential female guitarists from the past, such as Sister Rosetta Tharpe, Memphis Minnie, and Elizabeth Cotten, to honor their legacies and contributions to popular music.

However, despite the significant progress from the 1960s, the underrepresentation and marginalization of female guitarists, especially women of color, is still a pervasive issue in the contemporary music press.

What role did race play in the media's portrayal of female guitarists, particularly Black women, according to your findings?

Black female guitarists face intersectional invisibility in the music press as a result of the double burden of sexism and racism. Of the 43 guitarists studied, 12 are Black women (27.9%); however, they are featured in only 79 articles of the 744 articles analyzed (10.6%). Sister Rosetta Tharpe, the “Godmother of Rock’n’Roll," appears in 29 of these articles (all written posthumously). The top five female guitarists are white women: Bonnie Raitt and Joni Mitchell (91 articles), St. Vincent (70 articles), Ani DiFranco (53 articles), and Joan Jett (48 articles).

Furthermore, the marginalization of Black women in guitar illustrates the whitewashing and cultural appropriation of rock music culture, which has attempted to separate itself from the genre’s Black musical roots. Due to the masculinization of the electric guitar, influential pioneering musicians have received even less recognition than their male peers, such as Jimi Hendrix and Chuck Berry.

As Daphne Brooks writes in Liner Notes for a Revolution, thus illustrates the quandary faced by many Black women in the music industry– as“the world adores them and yet mishears them, celebrates them and yet ignores them, heralds them and simultaneously devalues them.”

In your opinion, what steps can be taken by journalists and media outlets to improve representation?

To address these systemic inequities in media coverage, the music press needs to feature more female guitarists, especially women of color.

Although the press has produced more content about women in guitar in recent years, the gender gap in media coverage is still a significant problem. The racial and gender inequities of the music press continue to undermine and limit the potential of professional female guitarists in the music industry, while also discouraging and disempowering young female players.

Next, the media needs to move away from the category of “women in guitar, which highlights the gender of female guitarists and reinforces the status quo of guitar as a male-dominated instrument. In addition, journalists should reduce the use of gender binaries and female markers and the hypersexualization of female guitarists in coverage – discursive frames that exclude women from serious consideration.

Over the past few years, representation for female and non-binary guitarists has improved in the media, as illustrated in retrospective articles in NPR and prolific coverage of St. Vincent. For example, Rolling Stone’s revised “250 Greatest Guitarists of All Time” list features 48 female and one non-binary guitarist, including 17 women featured in this study. The list includes several influential Black female guitarists, including Sister Rosetta Tharpe (#6), Elizabeth Cotten (#36), Memphis Minnie (#147), and Barbara Lynn (#229).

Do you think social media and digital platforms are changing the narrative for female guitarists today?

In the digital age, the diminishing power of the music press and the democratization of content creation has empowered diverse female and non-binary guitarists, such as Yvette Young and St. Vincent, to define their artistry and music on their own terms. Furthermore, the proliferation of independent digital publications led by women and people of color is shifting the narrative for female guitarists today, thus challenging the gender and racial inequities of the mainstream music press. For example, She Shreds Media (c. 2012) and Guitar Girl Magazine (c. 2018) exclusively feature female and gender non-conforming guitarists, including diverse musicians of color. Thus, these publications critique the discourse and representations found in male-centric guitar magazines, such as Guitar Player and Guitar World. By challenging the underrepresentation, marginalization, and hypersexualization of female guitarists, these feminist publications model an alternative framework that needs to be reproduced on a larger scale in the music press.

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Connect with Izzy Fincher

Instagram: @izzy_fincher

Facebook: Izzy Fincher - Guitarist

Website: izzyfincher.com

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Charly Schaller: DJing with Disability

While studying Philosophy at Cambridge, Charly Schaller discovered techno music during weekend trips to Berlin's techno clubs. This sparked a deep passion for techno and its harder subgenres and she soon played at venues like About Blank, Griessmühle, and Arena Club. In 2021, she released her first track on He.She.They, with a remix by Radio Slave, and launched an event series at Zurich's EXIL featuring artists like VTSS and DJ Spit and her music was released on labels like Second State, LAP, and DURCH.

In 2021, Charly became severely disabled due to complications from spine surgery. Now, she advocates for disabled DJs, promoting inclusivity and necessary accommodations in the music scene.

Can you briefly share your journey of becoming a DJ and how it all started for you?

Music has always been my thing, I grew up listening to classical music and in my youth had a great time discovering mainly the 60s, 70s and 80s, especially psychedelic rock and acts like the Beatles and Pink Floyd. I didn’t know too much about electronic music until I visited my friends in Berlin in my gap year after high school. We all went to Tresor as a group and in the morning when they went home, I went all by myself to Berghain, at the age of 18 in colorful clothes and with ginger braids and luckily got in. That was the first time I heard proper Techno and I was immediately in love. In this week I went to Berghain three times and my love for Techno was born.

After my gap year, I started a Philosophy degree at the University of Cambridge in England and while everyone else was doing internships at big companies in the school holidays, I went back to Berlin to go clubbing. It was both the music, but also the community, freedom and acceptance that I experienced in Berlin’s clubs that caught me. 

I think at some point, when I stood in a club, I looked at the DJ in front of me and thought: ‘This is what I want to spend my life doing’. I’ve always been a person who’s going for the things in life that I’m passionate about. So while still at Cambridge I first bought my first synthesizer, later CDJs and autodidactically taught myself the first production and DJing skills as I didn’t know any DJs at the time. After finishing my BA, I moved back to Berlin, worked different small jobs, and slowly improved my DJing skills until at the end of 2017, I was lucky that a friend who was a promoter at About Blank granted me an intro slot at his party. I’ve never been so nervous in my life and was shaking during the whole set, but it went great and I noticed that luckily my taste in music seemed to appealing for other people, too. I had never played in front of people before, so I had no idea how they would like my style. But after that, it slowly all took off, through more and more regular performances, becoming a promoter myself and finally allowed me to have a professional career.

How did your life change when you became severely disabled three years ago?

Everything changed for me. Due to severe scoliosis I had a surgery where two metal rods were inserted right and left of my spine. As a result, my back is completely stiff, I cannot bend it anymore. There were also major complication and after I woke up in extreme pain after the surgery, the pain never went away. Since then, I always have strong pain when standing and walking and can only stand and walk for a limited amount of time. Consequently, a lot of the things that I used to love doing, like hiking, rock climbing, snowboarding or simply strolling through a city aren’t possible anymore. The worst thing however is, what constant pain is doing to your mental wellbeing- it is extremely exhausting. Is is as though 50% of my thoughts are constantly occupied with pain, so my whole capacity is at 50%. It changes you, when you cannot simply walk down the street and enjoy the sunshine anymore.

What are some specific challenges you faced as a DJ after becoming disabled?

Unfortunately I faced many challenges. First and foremost, that standing for more than 30min is now extremely (!) painful for me. So in order to play with less pain I needed a chair with a backrest (The pain only goes away, if my back is not vertically burdened). Even though I asked my agency to tell the promoters about my condition, that chair was maybe provided 50% of the time and in most cases it was a barstool standing meters away from the booth. Even when a chair was provided, I could not play while sitting because the equipment would be far too high, so I had to take short rests during my set which makes mixing a lot trickier. 

Charly Schaller ft. Dani DeLion - Queen Of The Night [He.She.They.] Uploaded on YouTube May 5, 2021

If I had been already very successful and established, I probably could have requested the promoter to arrange everything so that playing seated would be possible. I will always remember for example Kyle Geiger playing a Berghain closing with a broken leg, and he will always be a hero and source of inspiration for me for this.

But as an upcoming DJ, you cannot really make such requests that cost extra money or require the whole set up to be changed before and after you play. How should this be possible when even changing the mixer is sometimes considered an annoying effort. And it is indeed an effort, which I know from being a promoter myself. But this really demonstrates that our scene is not inclusive for people with physical disabilities.

I’m sure that wheel chair users face the same problem that the DJ booths are far too high for them and to the reader: think about how often you’ve seen DJs in a wheel chair. So we really need to find a solution here. If people were generally aware of these special needs of people with disabilities, every club could possibly have a podium or second smaller booth. Sure, this involves effort and is costly and will lead to breaks between two DJ sets, but I think there is no question that inclusivity is more important than a neat transition between two sets. 

With my back being weak from the surgery, I was not allowed to carry anything so I needed the promoters help to carry my luggage. When sitting, I always needed a chair with a backrest. Without a backrest, I would be in strong pain. Unfortunately, many times, either my agency or the promoters forgot about communicating this clearly and I ended up stranded in situations with extreme pain.

Promoters would be confused why I left artist dinners directly after arriving or why the first thing I did after arriving at the airport was asking whether they could carry my luggage. When somebody is not informed, it is very uncomfortable for me when the first thing I need to talk about with them is my disability. I am now talking openly about it, but it is still something very private and it is uncomfortable being forced to open up to a total stranger without wanting to do so but out of necessity. It has meant over and over again brandmarking myself as somehow less than capable. So it was also hard that people, despite knowing about my condition, often couldn’t grasp its severity. I think this is because you don’t see it, not because they didn’t mean well, but still it hurt.

Furthermore, effective marketing became almost impossible: I felt ashamed to see myself DJing on videos, how stiff I looked. I used to dance a lot when playing and now, I looked stiff and potentially bored and unengaged to other people.

We all know how important video content is these days, perhaps the most important marketing material to increase ones reach.. High quality video content of DJs dancing ecstatically at gigs is perhaps the most important marketing material these days. But not only at gigs, recording yourself playing at Hör or doing streams is very relevant for social media. With releases sadly loosing importance it nowadays seems impossible to make a career without outstanding video content. But video content where the DJ is standing stiff as a stick will hardly go viral. On top of that, while I was trying to make peace with myself, I still got the advice from people from the music industry that I should dance more when playing so that the video content would look cooler, even though they knew about my condition. This really really hurt.

Additionally, networking is so so important and it often happens at events, in the backstage, behind the stage or in the smoking area and all while standing. So not being able to attend many events anymore, you quickly loose contact with the scene. At big productions like Time Warp for example, people stand for hours behind the stages and get to network there and there isn’t any seating at all, so unless you can stand for hours, you cannot go there. Even when there are seating areas, people still are usually all standing up and when sitting all by yourself you won’t meet anyone. I don’t want to speak for wheelchair users as I’m obviously not in their feet, but can imagine that it must be hard for them, too, to approach people they’ve only met once or twice in their life or never before in a dark and load environment. 

Due to the fusion of my spine, dancing is now very different, I cannot let my body move naturally to the music and again, however great the music, when you are in strong pain, dancing is only partly enjoyable. This was very sad for me as I absolutely loved dancing, but it also made me feel alienated from the people around me at parties.

​​Overall, I felt alienated from the whole scene. I still loved playing more than anything, but at gigs, I felt alone with my pain, I felt estranged from everyone surrounding me who didn’t realise how lucky they were to have the liberty to dance freely and without pain. So I didn’t see a way forward and thought the only option I had was to quit DJing and start a new life. This is why I stopped posting on social media and even left Berlin to pursue a different path in life.

What challenges have you faced in other situations e.g. navigating airports with your disability ID card, despite being able to walk?

At airports, for a long time I was unable to wait in the queues and needed help with carrying my luggage, but as I could still walk it didn’t feel right to use the disability service. What many people don’t know: You must use a wheelchair to use the service, even if you tell them that you can walk. When I tried to skip queues using my disability ID card. Multiple times I got shouted at, insulted and harassed and people didn’t let me pass despite me explaining I was in pain. Even if I had used the wheel chair service, the problem would have been that this service can be very slow in many countries and you might have to wait 1h for being picked up while my gig was within only a few hours. Generally, anything that involved long times of standing and walking became a challenge.

How did your management respond to your disability, and what impact did it have on your career?

I think that they meant well, but couldn’t really grasp the severity of my condition as it is not visible. InI believe anyone with an invisible (physical) disability faces this really big problem, that even though people mean well and they have good intentions, they fail to provide the support you really need. For example, people will be confused or wonder why you’re not constantly complaining about your pain if your pain is really that strong or why you still seem to have a good time. But obviously you get used to the pain and obviously you cannot send your life complaining whenever you’re standing or walking ;)

So again, I had people still advising me to dance more so that the video content would look cooler and I was also advised against communicating openly about my disability, which hurt. I believe that if it had been visually obvious that I had a disability, things would have been different. 

Overall, I would have wished more guidance and more help on navigating my disability. The only way how my career could have worked out is by being open about my disability, I think this applies for most disabled people and so having my management on my side with this and campaigning together for the inclusivity of disabled people would have been helpful. 

Why do you think the current discourse around diversity in the music scene lacks a focus on disability?

Nobody is talking about it, that’s a fact. But it’s not only the music scene but society in general that omits disability from the diversity discourse. When I applied to do an MBA in New York where I lived for half a year, there were many diversity scholarships, but having a disability was never part of the criteria that made one eligible to apply. Disability is not part of the mainstream discourse. 

And the fact that the special assistance that I requested could not be provided and all my other challenges show that it’s not on people’s (especially also promoters’) minds that some some people need special assistance in order to be able to play a gig. If disability was part of the diversity discourse, it would not be a new topic for people, that some DJs cannot stand behind the booth for their set and clubs would be equipped to accommodate this. 

How can people and organizations in the music industry better support disabled DJs?

Due to the problems  I mentioned that disabled DJs face with marketing and networking, I believe that some sort of affirmative action and special support would be effective and necessary to increase their visibility and balance their disadvantages. This is because for some of the problems other than providing special assistance, like networking, there doesn’t seem to be a straightforward solution. Just as it was and still is a topic that female DJs should be particularly supported- many promoters now check that they have female DJs on their line up- disabled DJs need to be supported in a similar way. If as a promoter, you know a disabled DJ, give them a preference when it comes to booking. Promoters, agents and managers would need to become active here. But I’m also just starting to campaign for disabled people so I don’t have the perfect solution in my hands. But acknowledging the problem is anyway the first step.

Promoters, regardless of how established and big, should have on their minds that some people need special assistance, e.g. cannot stand for the whole time of the set behind the booth or might need any other kind of help for their journey. When booking a DJ, promoters could actively ask whether any special assistance is necessary. This should be the industry standard. To this point, I still don’t grasp how so many promoters could simply forget about providing a chair for me, even though it should have been explicitly requested. 

Talk to everyone you know about this topic. If you work at a club, raise this topic at a team meeting, think about which restrictions disabled DJs might face and how you can accomodate them. If you are a manager or agent, take your artist seriously when they mention to you challenges that they face. Be proactive. 

With regards to marketing, I believe the only solution is to be open about the disability and have a team behind you supporting you with this. In my case, my community needs to know about my condition to understand that I’m not simply standing bored and unengaged behind the booth. 

What are your next steps?

I would love to connect with other disabled artists, talk to promoters, clubs, agents and managers and create awareness. But I am also just working on my comeback now, am looking for a new agency and management that will be happy to align with my mission. I hope they’re out there. 

I hope that at some point, any disabled DJ at any stage in their career will without question get the special assistance and accommodations they need, will be seen, heard and have the same chances of becoming successful as ablebodied DJs, as well as feel as an equal member of the music community. 

Connect with Charly Schaller

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