Music Insider

Tackling Bullying and Harassment in the Music Industry: Dr Charisse Oyediwura & Sania Haq on BLiM's "YourSafetyYourSay" Survey

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Black Lives In Music (BLiM) is an organisation that is achieving equality for Black musicians and professionals in the music industry through research and advocacy and are at the vanguard of the effort to combat racism, uniting organisations and musicians to create a truly inclusive and diverse music industry.

BLiM launched the "YourSafetyYourSay" survey in April to address bullying and harassment in the music industry. Supported by prominent figures such as VV Brown, Nova Twins, and Grammy-winning artist Kamille, who have shared their personal experiences and called for change, this anonymous survey aims to collect real-world data to inform legislation, support the Creative Industries Independent Standards Authority (CIISA), and guide the Department of Culture, Media, and Sport (DCMS) in their efforts. The data will also contribute to BLiM’s forthcoming Anti-Racist Code of Conduct and reporting tool, striving to eradicate discrimination throughout the music ecosystem.

As the survey’s deadline approaches, we chatted with Dr. Charisse Oyediwura, Chief Executive of BLiM, and the Award-Winning Diversity & Inclusion Specialist Sania Haq (and Founder of Bye to Stereotypes), about their work and how BLiM's "YourSafetyYourSay" survey is paving the way for a safer, more inclusive music industry.

Dr Charisse Oyediwura, BLiM

Dr Charisse Oyediwura is the chief executive at Black Lives in Music. With 18+ years of experience, Dr Oyediwura is recognized for her advisory work in music and entertainment. She has collaborated with corporate businesses, media organizations, and artists in the UK and US and serves on the boards of Help Musicians and the LIVE Group, chairs the EDI workforce committee, and advises at War Child UK.

When Black Lives in Music commissioned a survey on the personal experiences of Black music creators and industry professionals, they engaged nearly 2,000 respondents. Dr Charisse Oyediwura was among the first called to give evidence at the UK Government Women and Equalities Select Committee's Misogyny in Music inquiry.

Utilizing data from the report, Dr Oyediwura highlighted the industry-wide issues that persistently affect Black female music creators and professionals. The report, "Being Black in the UK Music Industry," achieved over 3,000 downloads in just one week, and its subsequent media campaign reached 788.9 million. It provided key insights into the experiences of Black music creators and professionals in today’s music industry.

Sania Haq, Founder, Bye to Stereotypes 

Sania has over a decade of hands-on experience working within the South Asian music industry through BollyCo, a dance and entertainment company she helps manage.

This is coupled with 12+ years within research, seven of which she spent leading on AudienceNet’s music and entertainment-related work, working closely with clients such as the IPO, IFPI, Sony, UMG, Warner, Spotify, Soundcloud, YouTube, the BPI and ERA, among others. 

Sania's advocacy for cultural understanding in music is evident through her leadership in pivotal research projects like the UK Music’s Music Creator Study and the IFPI’s Global Music Consumer Study. Nominated for a Women in Music Award, she's also an award-winning Diversity, Equity & Inclusion (DEI) practitioner. In 2023, she founded Bye 2 Stereotypes, providing research, training, and strategic support for addressing societal inequalities and increasing South Asian representation in the industry.

BLiM’s recent survey ‘Being Black in the UK music industry’ on the personal experiences of Black music creators and industry professionals engaged nearly 2,000 respondents. What were some of the most surprising findings from this survey?

Dr Charisse Oyediwura: There was nothing that was surprising, unfortunately as that was our lived experience,  so we already knew it. However the data showed a disparity between Black women and others in music industry and was probably the most eye opening part. That Black women being the most under paid (17% less than Black men, 25% less than white women and 52% less than white men),44% Black women reporting that their mental health had declined since starting their career in the music industry and 40% of women feeling the need to change their appearance in order to assimilate into the music industry.

What prompted BLiM to initiate the “YourSafetyYourSay” survey?

Sania Haq: The “YourSafetyYourSay” survey was initiated by Black Lives in Music (BLiM) following the insights gained from their inaugural survey, “Being Black in the Music Industry.” This initial survey highlighted significant issues of bullying and harassment within the industry, underscoring the need for a more focused investigation.

What role do you currently play in the survey process of BLiM's YourSafetyYourSay?

CO: As the ideator for the YourSafetyYourSay research, I was deeply moved to take action due to the pressing concerns that emerged from numerous conversations and meetings. BLiM's focus on Bullying and Harassment in the UK Music Industry is driven by a profound necessity. At Black Lives in Music, we receive countless calls from individuals of all backgrounds who are facing bullying and harassment. Gathering data, stories, and insights is crucial to provide the music industry with informed recommendations for impactful change. Historically, participation from Black, Asian, and ethnically diverse communities in this type of research has been incredibly low, and it's time we address this gap. There's a prevalent misconception that the struggles faced by Black, Asian, and ethnically diverse people are solely racial. However, bullying and harassment are fundamentally about the abuse of power, often rooted in prejudices like misogyny, racism, and homophobia. We are here to amplify those voices and challenge these narratives.

Collaborating with brilliant minds like researcher Sania Haq and Dr. Cassandra Jones, along with psychotherapists Natasha Hendry and Dawn Estefan, gender activists, and our dedicated BLiM Taskforce, has been nothing short of inspiring. Together with numerous key stakeholders, we are paving the way for our upcoming Anti-Racist Code of Conduct and reporting tool. We aim to eradicate discrimination, bullying, and harassment across the music ecosystem, protecting all people groups and the intersections of race, ethnicity, disability, sexuality, and gender. 

What are some common difficulties you've encountered during the survey process, and how have you managed to address them?

SH: I led on designing the survey, drawing on my expertise in conducting inclusive research and providing industry training on this for the Market Research Society. This survey presented unique challenges due to the sensitive nature of the topics it addresses. To ensure its effectiveness and participant safety, we consulted with specialists and organizations experienced in similar studies. Their input enabled us to feel confident that we had created a survey that is impactful yet sensitive to participant needs. Additionally, I am actively promoting awareness of the survey within my networks, particularly among South Asians working in the music industry.

In light of the findings from the Misogyny in Music Inquiry, how do you envision the YourSafetyYourSay survey contributing to a cultural shift within the music industry towards greater accountability and inclusivity?

SH: The findings from the Misogyny in Music Inquiry revealed pervasive issues of gender-based discrimination and harassment, which helped shape the focus and urgency of the “YourSafetyYourSay” survey. This survey aims to build on these findings by capturing data directly from music creators and professionals. Along with misogyny impacting the direct lived experiences of those working within music, it also permeates into society. Music is powerful and it can either combat or reinforce stereotypes and misogyny within society. Our aim is to use findings from the survey to influence industry standards and practices, encouraging organizations to implement robust anti-harassment policies and create a safer, more equitable environment for all​​.

Given the normalization of bullying and harassment in the music industry, what immediate proactive measures do you believe everyone should implement to address these issues effectively?

CO: There is a culture of silence and enabling that cloaks the normalisation of abuse in the industry and that needs to be uncovered. There are people who are genuinely fearful of the consequence of speaking out. But the consequence should not be on them instead it should be on the person who has committed the offence. I think listening to people in the music industry regarding their experiences is important, not gaslighting or sweeping it under the rug. Rather the opposite encouraging them to report their experiences. End the misuse of NDA’s in the cases of bullying, abuse or discrimination as it does not protect the victim but empowers the perpetrators.  But our voices especially collectively are powerful that's why we want as many people to use their voice (anonymously) through the YourSafetyYourSay survey.

What support systems or resources would you expect music companies or industry leaders to provide for those affected by bullying and harassment in the industry?  

CO: I think organisations should encourage people and workers to report their experiences to the police or other organisations such as Help Musicians, ISM or Musicians’ Union. Who will provide advice and support. We are only months away from the launch of the Creative Industries Independent Standards Authority (CIISA) so we are encouraging all organisations however large or small to sign up.

Looking ahead, what are your goals for the YourSafetyYourSay survey, and how do you plan to use the findings to drive meaningful change within the music industry?

CO: We plan to use the survey results to support the work of BLiM's Anti-Racist Code of Conduct and the Creative Industries Independent Standards Authority (CIISA) to also inform our work with the Women and Equalities Select Committee and the UK Government to share the landscape and scale of the problem and to provide legislation that will enable change at the highest level. Our job is to hold the music industry to account and that is what we will do.

Music Insider: Sarah McBriar

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Sarah McBriar | Photo Credit: Sarah Ellis (TellYourMumITookPhotos)

Sarah McBriar is the Founder & Creative Director of AVA & UP Productions, specializing in large-scale festival and conference creation, production design, and programming across the audio-visual arts (AVA) sector. Her extensive experience spans over 12 years across live entertainment, events, and cultural sectors.

Sarah's achievements include partnering with high-profile brands like the BBC, Avant Arte, Boiler Room, and Broadwick Live. She's been nominated for the title of ‘Underground Hero’ in DJ Mag’s Best of British Awards for championing grassroots UK music communities.

Sarah's notable projects include pioneering and project managing a large-scale tourism development project for Manchester City FC between 2012-2015, securing international investment and achieving leading attraction status in the city. She has also collaborated with Glastonbury's Block 9, the Manchester International Festival, and the Warehouse Project in Greater Manchester.

Recognized for her innovative and bold approach, Sarah was the first creative producer to receive the CET (Commercial Enterprise Trust) award. She's a guest lecturer at the Central School of Speech and Drama, where she developed the University’s first online Creative Producing course. Additionally, Sarah is a member of the Belfast Music Steering Group that secured UNESCO City of Music Status for Belfast in 2021. She actively lobbied for government support for the music and events industry during the pandemic.

In 2020, Sarah became one of 16 newly appointed Creative Entrepreneur Experts at the Säid Business School, University of Oxford, where she mentors MBA students and small businesses.

How did you get your start in music?

My first experience in music was helping friends run parties, then I got an artist liaison volunteer role at the Warehouse Project in Manchester then a volunteer role at MIF, Manchester International Festival which really opened my eyes to collaboration, commission and boundary pushing art and music. After this experience, I started an MA in Creative Producing, and did a placement with Block9 at Glastonbury for 6 months, where I learnt a lot, and this opened my eyes to the scale & detail needed in running a music festival.

How did you grow AVA from its beginnings in Belfast to hosting events in multiple cities?

Developing relationships with other promoters in London, Glasgow, Dublin, Amsterdam and the many other cities we have taken it to. This was through attending events, speaking at summits and conferences, hosting promoters and other partners at our festival in Belfast. We also developed our International reputation, from the early years of AVA through our broadcasts, our programming and our campaigns. This led to international cities and promoters approaching us too.

Sarah McBriar | Photo Credit: Sarah Ellis (TellYourMumITookPhotos)

Describe a day in your life as a Founder & Creative Director at AVA/Up Productions?

Few days are the same. I usually get up around 6.30/7am, work out, have a coffee, go to the office, and then do emails, meetings, meet with partners, potentially clients, visit new venues, design work, do more emails and meetings, and then finish around 6-7pm. During the event period my time will be split between on-site and office work, discussing exciting projects and the programme with the media, and promoting everything that we are doing! When I go on holiday, I really try to switch off. Recently I have gotten into Surfing, as it is a form of meditation and beautiful focus whilst in the water, you have no option to think about anything else but the waves and the water! You surrender to the sea, and I love that.

From your diverse career journey, spanning roles in arts production, academia,project management etc, what core principles or values have consistently guided your decision-making process?

The quality of the work is essential. Paying close attention to the content, the presentation, the design, and building relationships with artists and industry professionals all leads to great work. I think the biggest lesson I have learnt along my career, spanning all facets, is that it takes time. We live in a very instant world, where expectations aren't really aligned with the reality of how long it takes to build relationships, a reputation and reach a point where you can deliver a project of scale. If you understand this principle, and work on building the right relationships and reputation, then you can almost guarantee you will reach the point you want to reach, if you continue down the right path, building each step with integrity and respect.

How does it feel to reflect on the journey of AVA as it celebrates its 10-year anniversary?

It feels great and strange in equal measures. I can’t really believe that it is 10 years. It doesn’t feel like it. Reflecting on the journey I feel proud to have played a role in shaping culture and promoting and developing talent, and enabling artists particularly in Northern Ireland to reach for the stars and obtain what some may have felt unattainable.

What do you see as the most significant milestones or achievements during this decade-long journey?

Surviving Covid, and delivering one of our best Festival’s to date out the other side.

Surviving three major site changes, and settling in at the Titanic Slipways.

Surviving licensing challenges.

Growing an incredible team, and watching them develop.

Reaching ten years of AVA.

What's something about your work that fills you with joy and excitement, and conversely, what's something you find less enjoyable or challenging?

Joy & Excitement > Creative Collaborations, commissioning or debuting new work, seeing new artists break through the barriers and rise up, and helping to support them.

Less Enjoyable > Writing funding reports, working on audits, social media in general (not my bag, so I do much less of that now)

One piece of advice you'd give your younger self

For every 10+ fails, there will come a win. Celebrate the wins, and accept the failures, it is part of it. Every ‘wrong turn’ usually leads you to somewhere you are meant to be, so go with it!

Tips for anyone who wants to get into your industry

Put yourself out there, get jobs and experience as much as possible. Building your reputation and relationships are the most important thing you can do, focus on that, and your craft & the direction you want to go in.

AVA Festival runs from Friday 31st May – Saturday 1st June at the Titanic Slipways in Belfast.

Music Insider: Linda Walker

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Linda Walker is a music industry executive with a commitment to integrity and a passion for nurturing talent. She is known for her success in forming partnerships with top artists such as Ed Sheeran, Coldplay, and Dua Lipa.

Linda’s adept communication and stakeholder engagement have facilitated collaborations with major digital music platforms like Apple, Spotify, YouTube, TikTok and Amazon, driving successful campaigns worldwide.

She has been recognized as a prominent advocate for Women in the Music Industry, earning her a place in Music Week's Women in Music, Roll of Honour in 2020.

How did you get your start in music?

I used to spend all my spare time (and money!) in a local Indie Record Store. They got so used to me being in there, one day they offered me a job. I was working in a law office at the time, but I handed my notice in that same day, started in the record store the following week, and absolutely loved my job from day one. Through working in the store, I met many sales reps that worked for the record labels, and I basically drove them all crazy by asking them to get me a job! Eventually, through continually plugging away, I got an interview at Warner Music to be part of their sales team. I really thought I had messed up the interview, but I got the job and never looked back.

Your career has been marked by successful partnerships with globally renowned artists like Ed Sheeran, Coldplay, and Dua Lipa. Can you share some key strategies you’ve employed to cultivate these creative commercial partnerships? 

Partnership is the keyword when you are working on campaigns such as these. Great relationships and a clear understanding of how your commercial partners work is essential to building a strong, commercially, and creatively impactful partnership. The starting point for me has always been to dig into the key objectives for a project from the artist, management and label’s perspective, and then to build a commercial strategy and partnership plan that achieves these objectives. With huge global artists like Ed, Coldplay and Dua, you must approach everything you do with a global mindset, building plans that are truly global in their ambition and reach.

Can you provide insights into how you approach and build strong relationships in the music industry - e.g. with stakeholders or music companies?

Relationships are a two-way thing and need to be nurtured, so be an active listener and remember, if you are building anything, you must keep coming back to it. I also think it’s important to be your true self, people will respect you for that and will generally see through you if you put on an act.

As a leader in transforming a music business into a predominantly digital operation, what challenges did you face, and how did you overcome them?

I remember when as a business, we first started speaking about digital music platforms, there was a slightly reluctant and fearful attitude towards the change. I always felt that we just needed to embrace the change and actively look for the positive impact it would have on our business. I jumped at the chance to work with iTunes when they first launched a store in the UK, as it just felt so exciting to be involved with something new and future facing. My point is, embrace the change!

What advice would you give to independent artists or smaller labels looking to optimize their strategies for a successful music release?

I don’t think there has ever been a better time to be an independent artist or label. You now have the tools to do so much for yourselves and you understand your audience better than anyone. There is an overwhelming amount of music released onto streaming platforms every single day, and it’s hard to get cut through, however, I would say focus your energy on what you can control, rather than what you can’t. Actively help your audience to find your music, they are your audience and your fans, not the streaming platforms’ so build that fan relationship and allow them to be part of your journey. This relationship goes beyond just streaming consumption so build a commercial strategy that encompasses all the elements that speaks to your audience.

What are some key trends or changes you currently observe in the music industry? - e.g. AI or anything else?

Well, leading on from the previous question, there is certainly an exciting time ahead for the independent sector. My old school record store self is delighted to see how well vinyl is doing and to see the indie retail sector so strong. AI is here to stay and will continually evolve, so as an industry, we need to grow with it, embrace the change and not be scared. There are going to be positive impacts, as well as negative, so the industry needs to pull together to harness the positives and work with legislators to protect against the negatives.

In your journey, how have you effectively balanced the creative aspects of the music industry with the necessary business acumen? 

Creativity is at the heart of the music industry, and I hope that never changes! Having a clear commercial strategy that delivers on short, mid and long-term goals, can easily weave together creative ideas alongside business ambition. One is not exclusive of the other.

What tips can you share with aspiring professionals to strike a harmonious balance between artistic vision and commercial success?

Understand what success means to you, it’s actually quite an individual thing to measure. Understanding this helps you to map out the steps needed to achieve your goals and how your artistry feeds into these plans. You should always remember why you do what you do and be your authentic self. Your passion, authenticity and purpose will drive you forward.

Tips on finding your first music job?

Work hard on building out your network and never be afraid to reach out to people who you find interesting and whom you think you could learn from. I can’t tell you how many people that I’ve never met before, have agreed to jump on a call or meet me for a coffee. The worst that can happen is that they don’t reply or say no, but you’ll probably be surprised by how many people will say yes. Also, don’t shut yourself off to one specific type of role, learn as much as you can about the industry (from your newly formed network) as there may be roles that you didn’t even know existed that spark your interest.

Tips for anyone who wants to get into your industry

Learn as much as you can about how the industry works. You have many resources available to you, so use them. And remember, music is a broad industry so don’t be afraid to explore all options.

Connect with Linda Walker

Music Insider: Zamaera

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Malaysian artist Zamaera is a household name in Southeast Asian music, navigating an 11-year career that transitioned from TV hosting to music. She’s a skilled storyteller who continues to break barriers and recently organized Malaysia's inaugural all-female music festival, 'Queendom Fest' dedicated to spotlighting and empowering talent in the industry.

Zamaera marked her solo debut with the grime-inspired single 'Helly Kelly' in 2017 - featured alongside Malaysia’s hip-hop icon Joe Flizzow and has been independent since 2021. Her music skills flourished in a male-dominated scene, where she had to break boundaries and prove herself.

Her new track 'Big Fish' features Kuala Lumpur-based DJ/producer Daaliah, is influenced by hip-hop, pop, garage, and soul, and reflects Zamaera's desire to break free from her artistic constraints.

The song originated from a candid conversation with Daaliah in July 2023, expressing her feeling of being a 'big fish in a small pond' and her aspiration to step outside her comfort zone. 'Big Fish' is out now through Zamaera’s ‘Mean Malaya Entertainment’.

Tell us more about your collaboration with Daaliah on Big Fish.

‘Big Fish’ is me stepping out of my comfort zone and I really love this new venture. It’s a very different kind of song that I wouldn’t normally do, because I predominantly work on Hip Hop and R&B music (but I've always loved electronic and I’ve always loved House Music and Techno). My relationship with Daaliah is that we were the only German speaking artists in Malaysia and it kind of grew from there. We've known each other since 2019 and made some demos together but never really had the chance to put something out.

I met up with him last year and we had this conversation about how we were doing (just catching up) and I told him in my exact words “I felt like a big fish in a small pond”. That exact sentence was what sparked the idea.

We went to Daaliah’s studio and it was just the right vibe, the right energy as Daaliah had just come back from a tour in Europe and he was really inspired by Garage Music and different types of sounds (that in Malaysia, producers won't particularly look or touch on).

You had a 30 minute time crunch when creating “Big Fish”. How did you tap into creativity and stay focused under pressure?

Honestly for this project, I did not feel like there was any pressure involved just because everything felt so seamless and natural; from the moment that we were talking, to us deciding that we were going to make a song. It really felt like it was exactly what it needed to be. Even though there was this “time crunch”, we were using it as a way to to be even more creative. The time crunch helped us find exactly what we wanted.

It took out that deciding factor, that time to think and decide whether we wanted something “in this way or that way”. For example, there is a sound that you hear (the piano) that’s a sample by an amazing producer and I was writing at the back (coming with the melody) while Daaliah was producing and it just came together. I think the pressure on the time was a great thing for us.

As an independent artist, how do you think the independent music scene in Malaysia has grown?

I do feel that independent music and independent artists have taken a step forward hugely - all thanks to accessibility and information coming via YouTube videos, courses, social media etc. A lot of people understand now that we don't need to rely on traditional mediums such as radio or TV to get to the point of visibility. We can always use socials and also other forms of content for us to showcase our creativity.

Artists are now pivoting to a more independent style that is giving us the freedom and leeway to really be fully and creatively ourselves.

I do feel that a lot of independent artists (such as myself) lean towards working with brands. For example, with Big Fish and our music video premiere party, we got the chance to work with a really amazing global brand (they unearth and uplift independent artists such as myself and Daaliah and graffiti artists in Malaysia).

Can you share a memorable moment from your music career

I would say that the biggest one or the most recent one for me was organising my very first all female music festival. Throughout all my years of being a musician I had never ever organised an event for more than 5 - 10 artists (let alone 15 women and creatives) with the idea of building a strong community and platform to really uplift and showcase their talent in Malaysia.

After 11 years of doing this work, I realised we have all this amazing talent which was not reflected in the live performance space in Malaysia (and I thought that was really necessary). That's one of the most memorable things. I have a lot more, but then this conversation might never end!

What are your goals for ‘Queendom Fest’ in 2024?

My goal is to take everything I’ve learned from the first edition (the feedback, the critique etc) and really look into how we can better manage the festival. As an artist, I tend to look at things more on the artistic side (e.g. whether the artists are going to have a great time performing or how the lighting and the visuals, the music and the sound will be), but there's also this very important aspect which is the management of behind the scenes (running with your project manager, the vendors, the production team, and stuff like that).

I really want to take everything that I've learned and make it bigger, make it better. And of course I want to have more way more artists for 2024 and also hopefully international acts as well. So stay tuned.

What's your least favorite thing about making music?

That's actually quite an easy question to answer. My least favourite thing about making music is that I do not know how to play all of the instruments and that really frustrates me sometimes.

I know that you can learn stuff (make sounds on e.g. Logic or any digital audio workstation) but I feel like I always am so hard on myself because I feel like “oh my gosh, if I just knew how to play the violin, or if I just knew how to play the cello”. It stops me from actually going out and learn.

Thinking that “I can only play the piano or the guitar” makes me feel like it's not enough. I want to be able to do more but I have to take a little step back and chill. You can’t play everything but you can collaborate with so many amazing, talented people out there. So if you play the cello, you know who to call.. (call me, I'm gonna work with you).

What is a valuable piece of advice for an artist that wants to enter your industry?

You should just not think and do it. A lot of people might be worried about what other people might think because of maybe e.g. a taboo that surrounds your passions. I don't think this is only the case with music, it goes with pretty much with anything you want to achieve in your life.

Stopping yourself because of what other people might think and not taking a chance on doing what you love could be one of the biggest regrets.

Don't think about what other people think of you (because people are going to say something anyway, so you might as well just do what you love). Let the music be your life.

Connect with Zamaera

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Music Insider: Moni Saldaña

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Moni Saldaña is a music industry executive with over 16 years of experience. Currently residing in Mexico City, Moni serves as the Artist and Label Partnerships Manager at Spotify Mexico.

Before her tenure at Spotify, Moni was the director of NRMAL, an international community based in Mexico. In this role, she oversaw all aspects of the annual festival that spotlighted emerging global talents. Additionally, her time at Turista Universal involved contributing to musical supervision for films, series, and diverse projects.

Being a passionate advocate for equality and diversity in the music industry, Moni is actively involved in Spotify's EQUAL and GLOW committees. (EQUAL, a global program promoting women in music, and GLOW, a celebration of LGBTQIA+ artists and creators.)

In this interview, Moni shares her journey in music, emphasizing her commitment to helping emerging artists and projects with a particular focus on Latin America.

How did you get your start in music?

I got my start in music a bit by chance. I was studying journalism, but I always loved music. I didn't know how to get involved. I told myself “Oh, if I was a boy, I would have a band” but I didn't believe or I didn't know how to be a part of it. I then came across NRMAL - a project that I was a part of for the past 15 years. I sent them an email because they had a blog, and I just told them “hey, I want to get involved in any way or capacity that you see fit”. So I started going to festivals and concerts, then I wrote reviews for their blog, and that's how I eventually got involved with the events that they were putting out. It was something very special and important for me, it literally changed my life professionally and personally as well.

As an Artist and Label Partnerships Manager at Spotify, you oversee various initiatives. Can you tell us more about them?

Currently, I am part of the Artists and Label Partnerships team at Spotify based in Mexico. And my job is literally having those conversations and relationships with what we call “our partners” (the artists, labels or distributors etc). We are having conversations about what's coming up, about their plans and other projects. We are trying to know what's happening outside, to be able to translate that insight within the company and to be able to come up with plans, ideas, etc. We’re the bridge for artists to reach the platform, but also the bridge for other departments in the company to be able to reach the artists. I get to talk, oversee and work with a lot of amazing artists from all sorts of genres, all sorts of backgrounds. 

Obviously, with that comes the responsibility, in order to give as much visibility as I can to all sorts of artists and partners. Every single day, I learn about new things, I learn about new music, about new artists and projects and that just keeps everything very exciting. We have to understand trends and more things  that are happening at the moment. Our job is to be experts and to know what's going on, to dig deeper, to come up and develop new ideas.

Because of my background and because of where I come from, working in that side of music feels more like “defending” emerging artists or giving more visibility on women's representation within the music industry. You have to be present every single day.  So for me, it's very, very fun, fulfilling and very interesting to be able to connect with more and more creators around the world and particularly in Mexico.

You've worked with both established brands and emerging artists. How do you bridge the gap between these two worlds within the music industry? 

Throughout these years working in music I’ve done a lot of things. My core has been about working with emerging artists and giving a platform to them or creating spaces for them. I’ve also done a lot of work with established brands doing events or working now at Spotify. Being able to learn from these huge companies and brands that have great standards and have been there for so long (and from the amazing people that work there). Also, coming from that background of independence or not having lots of resources and that struggle, made myself more creative. 

That’s why I always try to collaborate a lot, work here and there, and just allow myself to keep evolving and learning. I think that’s the key of it; understanding where we can connect, and how we can balance those spaces. That’s always been my vision and nowadays that’s still very important to me. 

What has been a notable highlight from your journey in the music industry?

It's gonna sound very cheesy, but I think it is the journey itself. I've been a part of the music industry for the past 16 or 17 years now. It is a journey. It is a process. You're never fully there. You keep learning and you gotta keep yourself grounded because it's very difficult. It's very hard, but at the same time, it's so beautiful and amazing.

Why? It’s because I love music. I can't really separate my personal from my professional life because it's something that I really love. You get invested emotionally very hard - and I think that's a lesson that you usually learn the hard way. Something very important is that you have to eventually understand how to balance your life, how to balance your work, how to keep being very passionate and invested, but at the same time how to give yourself a break and understand your limits when it's time to give up on a project.

“I feel very lucky and fortunate that my job, even though I don't make music,  is to connect with people through music. That's something very precious and valuable that I just can't take for granted. Also, when you understand the power that culture and music have. It's not just entertainment; you can actually connect and change people's lives through music. I think that's something very powerful”.

What you do matters, what you do is part of your legacy, particularly being a woman in the music industry. That's something that I will carry with myself every step of the way. And I don't look at it as a burden, I look at it as a gift, as something that gives me a unique perspective and that allows me to add value to whatever projects I've been a part of or will be a part of.

Can you share some insights into the challenges and opportunities you've encountered in promoting emerging and independent music projects in Latin America? 

Promoting music or artists from or within Latin America is very interesting but at the same time, we still don't have the same spaces or infrastructure or resources that other countries have (like in the States or Europe). At the same time we have a very active and passionate audience.  We have Music Fans. Who is better to tell us what was happening at specific music scene or club or festival than the people that are working there? That's why we always love collaborating with promoters, with festivals, with collectives, with labels, because they are the experts.

We have to treat the audience, right. We have to respect the audience. That's why building a community is more important, because you're not building an audience. You don't want someone that will pay just when something is interesting for them. You want to build an engaged community.

“For me, in a community, we talk to each other. We listen to each other. It's not just me talking to you”.

It’s very important to open up these conversations. It's great to see how, in recent years, a lot of amazing markets and festivals and venues and opportunities have grown for the rest of Latin America, and how interconnected we are nowadays.  I think we're doing great and I really really love how we keep connecting. But there's still a lot of room to grow.

What’s your best advice for people who want to enter your industry.

I don't think there's a perfect answer to this. If we had a formula, everything would be easier. I wish we had it. There's so many things that I could talk about - you know, like “being persistent and being patient and this is tough and just keep yourself curious” - all of this. There is a phrase that I really like that says “Culture isn’t what you intended it to be, it's not what you hope or aspire for it to be. It's what you do so, so do better”. That’s it.

What advice would you give to your younger self?

I think it's very simple, but it's important: just to not be afraid. I was very afraid when I was younger. I was very afraid to speak up. I was very afraid to make certain decisions. I was very afraid to follow certain things, because of what people might think. I was very afraid to say things when I wanted to say them. There's so much you can miss out by being afraid.

Now, I feel very proud of myself because I did a lot of great things for myself. In my professional life, at least, I switched careers when I felt I wanted to switch. I gave up some things to follow my dreams. I sent that email when I wanted to reach out. I’ve worked really hard to get where I am right now.

Also, to love myself more because that's how you will connect with more people. That's how you will enjoy things. That's how you will make things better.

Connect with Moni Saldaña on Instagram, LinkedIn, Twitter (X).

Moni Saldaña’s work.

Interview: Little Monarch

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Little Monarch is the brainchild of LA-based artist Casey Kalmenson. Recognized for her exceptional songwriting, production, and vocal abilities and blend of indie pop, soul, jazz, and funk, Casey has collaborated with a diverse range of artists, including Daisy The Great, Jessie Ware, Far East Movement, Parra for Cuva and more. 

Little Monarch found viral success as a solo artist with her debut single "No Matter What," which has wracked up over 25 million streams across platforms.

She has seen her work feature prominently in a variety of TV networks and film projects (including ABC, CBS, MTV, and VH1 and popular shows like Grey’s Anatomy, All American: Homecoming and Love Is Blind).

With her sound as a summer sunset, Little Monarch continues to shine in the music industry, resonating with audiences globally. Her more recent single "Same Old" followed Little Monarch's track "Tears" and an extensive tour playing in Gracie Abrams band. The tour included multiple opening act performances for Taylor Swift on the Eras stadium tour. "Tears" combines pieces of soul, jazz, and indie pop to create a sunshine filled sonic reminder to let go of control and find your own place in the flow.  

What's the one thing you hope fans will take away from listening to your new song “Same Old”?

In general, it's always “self confidence” and a renewed sense of self worth. And not giving up. That's always been kind of the pillars of what I write about. Because it's always what I need to hear and what I want to transmit into the world, the messaging of “don't give up, just keep showing up”. You just gotta keep going and things turn around.

What's the most unexpected place/time/space you found inspiration for a song?

I don't think this is unexpected, but it's recent. I was feeling really blocked creatively and I went for a hike. There was this little rock and I thought “that looks like a wonderful rock". I'm gonna sit on it”. And I sat on it and I closed my eyes, did a little meditation and I got this inspiration for a song, came home and started to play it. It was just this feeling that I really wanted to capture and I think that I did. It was just so renewing because I had kind of felt a little bit lost, trying to navigate putting this album together. I was thinking “I really want something, I don't know what I want yet, but I don't know what it feels like”. So, I kind of landed on this when I got quiet and got out in nature. And that always seems to do the trick for me.

What's an important lesson you've learned in your music career?

Ooh, I mean, so many but…don't give up. Just keep going. There's really no “one path”. You can read people's bios. You can study the greats (and you should) but there's no trajectory that you can copycat. So you really just have to be patient and keep showing up for yourself and your own path, which is going to be unique.

What’s a piece of advice for finding creativity on a tough day?

Don't force, it would just show up. Even if it's just 20 minutes of practising or journaling, there's a lot of ways to be creative that doesn't involve sitting down and writing music or producing something. Also, make sure you’re giving yourself a “creative palate cleanser”; get a little bit done, go take a walk. I love to do that - it just clears my head - and then I can come back to something with fresh ears. And also, most importantly, if it's a tough day and you're not feeling it, just don't. You don't have to. You can take a rest and that's just as productive sometimes.

What’s your top tip for people that want to become music producer, singer songwriters etc?

When I wanted to start producing, I was buying some gear (I was you know, figuring it out what I needed) and somebody ironically (amazingly enough) at guitar centre said to me “give yourself seven years and then you'll actually be a producer, you'll be good enough for you to want to hire yourself”. I actually still think about that and think that's kind of true.

You have to give yourself this runway of time to you know, learn the skills and you're always learning. I think, just giving yourself a runway of time and setting yourself up for that, knowing that it could happen overnight or you might want to build something where it has a lot of longevity and you can sustain it - in which case you, you need to set up a support system and figure out a way to really know that it's a 5 to 10 year journey to get to a place where you might deem yourself successful or comfortable or sustained. Just give yourself some time and patience because it's beautiful that you're even showing.

What are some of your favorite songs to wake up to?

This week it's been “Love and Happiness” by Al Green (and just anything by Al Green). I really love to take a morning walk and listen to some (Frédéric) Chopin, it just stimulates my brain, it's beautiful.

Three things you can't live without in your bag.

Aquaphor, sunscreen, earbuds. Pretty pretty standard.

Follow Little Monarch:

▶ Stream: https://ONErpm.lnk.to/-LittleMonarch

▶ Instagram:   / littlemonarchmusic  

▶ Facebook:   / littlemonarch  

▶ Twitter:   / littlemonarchla  

Music Insider: Halina Rice

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Halina Rice is an electronic musician and AV artist creating emotive electronic music ranging from evocative soundscapes to beat-driven tracks.

Her live shows have been described as “part-rave, part art-happening” taking audiences from immersive experience to dance-inspired tracks.

With her last album ELISION released in 2022 to critical acclaim, her music has been described as “sublime and infectious” by Electronic Sound magazine and as “modern electronic music at its finest” by Headphone Commute.

As Rice states “my main focus is to present compelling, emotive and innovative music and visuals in order to move the audience outside of their day to day experience. I want people to come away from the shows feel invigorated and inspired.

Read our interview to discover more about Halina’s work and insights.

As an artist who aims to move the audience outside of their day to day experience, which emotions or reactions do you hope your music and visuals evoke in your listeners?

When I think about what I'm trying to evoke in listeners, I'm not really very prescriptive about it because I think everyone one kind of comes with their own experiences and things will resonate or they will react in different ways depending on their own individual experience.

But what I tend to find is that if there's something that I create musically or something that I create working with one of the visual designers, if something resonates with us or kind of excites us, then that's often going to create a reaction in the audience as well. So we tend to go for stuff that makes us feel something. I think it's a really individual way that people react to the events.

How do you prepare for large scale events?

For instance, I had a show at Village Underground on October 3rd. In that instance, it's just mainly about the technical side. Planning is probably the most important way that I prepare because in my shows I'm running the audio, the visual jewels and quite a large proportion of the lighting. It's making sure that I've done all the relevant site checks and understand what the venue capabilities are and checking that my setup is going to interact with their setup OK. Also, that I'm completely in line with the promoter for all the details about the event.

Then another aspect is when I run spatial sounds. In some gigs, I'm running multi speaker systems with sound coming all around the audience. I have a show coming up at Ade on Thursday, October. The 19th at a venue called The Other Side, which has just had a 14.1.5 speaker system installed.

And in that instance, there's a little bit extra planning, which is that you need to receive their speaker layout in order to be able to reprogram your sound so that it's coming out into the formation of speakers in their venue. So it's really just about planning and lots today.

What is the central theme or concept that ties all the tracks on your upcoming EP New Basis together? How did this theme influence your creative process while working on the project?

I think possibly for New Basis, the creative theme is something about contradictions. There's a kind of a clash of classical and more experimental forms.

Definitely I created chord structures that have quite a sort of long, almost recognizable contemporary classical structure, but then they would be presented in a sort of electronic instrumentation and I never really wanted those shapes to be 100% recognizable. Things twist and change throughout and there are builds of distortion. Then we kind of reflected that in the creative process.

Working with visual designer Frany Anthony, we actually used scans, 3D scans of natural objects. But then we kind of took those, recolored them and twisted and distorted them so that the visuals were matching the music. Organic and inorganic juxtaposition is what lied through the whole creative thinking behind the EP.

How do you stay inspired and innovative in your music and visual art?

One of the ways that I'd stay inspired is to go and see other people's shows, works or art presentations. For instance, there's a venue in London called Eclectic which is just in Waterloo and it's non profit making so they'll platform quite experimental ideas, students, etc who are just sort of trying things in quite a raw format. And that's really interesting because it can kind of trigger ideas or developments from that. And I'm lucky enough to also play at audiovisual festivals. I was at MUTEK in Montreal a few weeks ago and there was just a huge number of fantastic presentations from around the world.

Sometimes it's seeing other people's work but also just being in venues. For instance, being in a dome projection venue and just thinking this is really interesting and what would I do in this space? So yeah, just sort of getting out and about and having a bit of reflective time while you're absorbing other audience of visual events and you.

What advice would you give to emerging electronic artists?

The advice I'd give to emerging electronic artists is to connect with other like minded people in your area. If there are meetups of electronic, electronic or AV groups, it's a really great way just to share information and learn. Maybe you're going to collaborate or work with a few people that you meet there. And also, in a lot of these groups you're just performing maybe for other people in the group. It can be a really non judgmental place for you to trial before you take that in front of a ticketed audience, for instance.

And I think also it's great to feel like you're connected to a wider community because it can be quite an isolating thing to do. It's good to be able to call on other people as you solve production queries, as you work your way through what the right kind of format and setup is for you.

Halina’s EP NEW BASIS was released on 29th September via AWAL and is available through all streaming platforms.

Catch Halina Rice live at Rescue Rooms in Nottingham on October 12th, and Summerhall in Edinburgh on November 17th.

Halina is also part of the official programme at ADE 2023 this year performing a spatial audio and visual live set at The Other Side on Thursday 19th October, presented in L-ISA hyperreal sound by L-Acoustics.

Music Insider: Iiris Vesik (Night Tapes)

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Night Tapes (Max Doohan, Sam Richards and Iiris Vesik) is a London-based, genre-blending atmospheric dream pop band with haunting vocals by Iiris.

The band's inspiration came from both their lived experience in the world that they can see and touch, as well as the less tangible spiritual and metaphysical realm. 

The 'Perfect Kindness' EP has been mixed by Nathan Boddy (known for his work with PinkPantheress, James Blake, Mura Masa) and mastered by Matt Colton (noted for his work with Flying Lotus, Flume, and Brian Eno).

Their debut single "Forever" has already amassed over 5 million plays, while their music continues to garner support from various media outlets. Having signed to Nettwerk Music Group in 2022, Night Tapes also made their SXSW debut in 2023.

These are Iiris's reflections on songwriting and valuable tips for overcoming creative hurdles.

What experiences impact your songwriting and the emotional depth of your music?

I think that being a musician is somewhat of a mystical, mythical journey because so many things are out of your direct control. You're a part of a bigger wave than yourself. It's bigger than you. And you're bringing creations from a world unseen, from that big wave out into the real world and making something out of nothing.

And I feel very lucky to have writing by my side because I can describe what the fuck is happening to me. And I agree with the existentialists. When you have the power to describe what is happening to you, you can somewhat take your own experience into your own hands.

For me, that has helped to feel like I can turn the things that happen to me into something useful and that I can take control. No, not control…I can take responsibility over my own reality and spot some treasures in the underworld.

At times I feel like I'm free and on the right path. Carl Jung has said “the work is the expression of my inner development for commitment to the contents of the unconscious forms the man and produces his transformations”. But to be honest, I just trust the unknown because it's been really useful, effective and easy for me to create.

I love the scientific and I love the empirical. But when it comes to art, the work I do is between me and the source. And the more I've let go, the more I've trusted, the more I've been able to flow in synchronicity, meet the peeps that I need to meet. And at best, creation has felt like magic and a journey of individuation. So I do recommend.

Tips for finding your creativity on a challenging day.

I think one can't really be creative if the Maslow hierarchy of needs is missing. The bottom half my body needs nourishment and sunlight and eating and exercise and all that good stuff that I didn't think I used to need. I used to think that music is number one and everything else is secondary and let me tell you, that was a bit destructive. I do NOT recommend.

So on a tough day, I think that there's definitely phases to creation (and to life), and it's good to not mix them up together. It's like if you're resting, rest. If you're working, work. There's chaos, there's order. And it's good to start from order, because without order, there is no harvest. So having a plan, having a setup, having an environment that supports your creativity is necessary and that comes through order. You create those things for yourself. You set them up in order.

And then when you get there, that's when you can go into chaos because you can let loose, vomit out the ideas that you did, just like get the material out so you'd have material to work with.

And then when you got the material, then you can see like OOH, what shape is this? What is this? And then you can your analytical mind, your intellectual knife and start to sculpture the thing of your vision, of your dream, what you're thinking.

And then once again, you have to go into chaos to let go of the outcome, to have some surprise, to be open to the highest, best outcome. Because the thing that wants to come through you is already somewhere out there in the world, unseen. And you can just act as a tool (if you're into that sort of way of thinking, which I am, because it's easy).

And then when things go, a lot of the times it's because you just don't know what phase you're in. Like in creation, try to start chiseling with an intellectual knife of a thing that you don't have to chisel. You need to have the phases in the right order and you need to be able to know which phase you're in.

So sometimes you show up, you try to implement your order for your harvest but sometimes it's good to just ask like, maybe this is not the time. Maybe it's time for a little chaos. Maybe it's time for a little bit of task free time. Maybe it's time to slug out a little bit, to breathe in so you could breathe out.

So that would be my tip for finding some power to go on on a tough day of creation.

(Yeah, this is long).