Founder's Note: 10 Years Of shesaid.so

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Dear community,

As we take a brief moment to celebrate our decade-long anniversary, I feel compelled to deeply reflect on our past achievements and take our time contemplating the future.

Before I dive into explaining this further, I wanted to get a bit personal first. And the reason I’m doing this is because I’ve always been afraid of putting too much of “myself” out here as the face and voice of shesaid.so. Alas, as I dove deeper into coaching over the last couple of years (thank you, my guides!), the more apparent it became that shesaid.so is very much a reflection of my own personality and understanding of the world - until I finally accepted this. 

A little about me, then. I was born in the Eastern part of Romania in 1989, 11 months before communism officially ended. My parents were very young when I came about although, at that time, raising a family at a young age was something to be applauded. They didn’t have much and would probably be labeled as low income in most Western countries. My father was a little stern and taught me about the importance of integrity, being on time and, most importantly, working hard. I learned compassion, kindness and treating others how you want to be treated from my mother.

I remember growing up worried about having enough money. For further context, it’s important to note that Romanian history is filled with wars and corruption. As a nation, we are known to be hard workers, plus whatever other stereotypes about Eastern Europeans are out there. Also important to note that we are the only (Ancient) Latin country in Eastern Europe, culture and language are about 70% Romance (same as Italian, French and so on), and only 20% Slavic

My entire childhood I was a good student and graduated high school amongst the high ranks of students in my city. If I wasn’t doing homework, studying for student olympics in physics and literature, I was probably dreaming of becoming a judge or working at NASA. I was a major nerd throughout my life in Romania but really started to dream about boyfriends and other things in high school, like most of us did. Even though I worked hard to prepare for Law school, one month before the big exam I quit everything and eventually ended up studying in the UK.

Westminster University in London accepted my student application as a part of their Bachelors in Media Studies - the type of higher education you sign up for when you don’t really know what you want to do in life. Except I did and then pulled a 360 on it. Why I did that is something I’m still investigating. I’m glad I did because my life took the most unexpected, fun and challenging turns I hadn’t even dreamt to be possible at the time. One of those unimaginable outcomes was landing a job in the music industry.

Before getting my start in music about a year after graduation, I was very much obsessed with Silicon Valley and the concept of startups. I had landed an internship with one of the biggest marketing companies in the UK at the time and pretty much hated it for the three months I worked there. While innovative, my role there felt insular: like I was a cog in the machine that wouldn’t notice if I weren’t there any longer. I would be given a very specific set of information that I had very specific results to draw from. I was hired to scan a blog that was populated by a fictional character; a bot I would program with certain keywords given to me by the market research division in order to impersonate the client’s ideal customer.

I would then spend two thirds of my day scanning through the content pulled by the bot into the blog in order to spot patterns: the type of music and artists this person would be listening to, the type of YouTube videos they would watch and news articles they would read. I would then compile this data and present a set of identifiable patterns to my manager. What happened beyond this stage was never clear to me but I had a sense that it would be a whole lot of journeying in order to translate this information into tangible results. I didn’t like that. I knew that there must be a faster, more efficient, creative and disruptive way to build and ship things. That’s what startups embodied to me and what led me to my first music industry job a year later.

I had become so obsessed with startup culture that I was out of the house pretty much every day of the week, attending all the networking events I could find. One evening at one of these events, I met a couple of startup founders of a streaming platform who ended up offering me a Community Manager position. Worth mentioning that this was in fact my second role as a Community Manager in tech. Not only that, but my dissertation thesis was a study on early online communities. It felt like things were aligning for me in the right direction. I soft launched shesaid.so, my biggest Community endeavor to date, two years into my Mixcloud job, in August 2014.

We've learned and achieved so much over the last nine and a half years together with our shesaid.so members and partners. From countless events and online sessions, through to mentoring programs and editorial content that strived to educate and bring the community closer together. shesaid.so didn’t just bring people together - it forged friendships, enabled business deals, helped entrepreneurs find funding, supported up and coming artists, empowered women mid way through their careers and so much more. Since shesaid.so's launch as a passion project back almost a decade ago, our community has seen and played a part in key moments for the music business and the diversity and inclusion movement - including a pandemic, #metoo, BLM, streaming, the rise (and lows) of the creator economy, web3 and AI to name a few. While some of the wider milestones in our society feel like setbacks, we cannot help but move towards the future with a deep sense of hope. 

We are still here and we are standing strong. 15k+ people strong all around the world (actual community members), dispersed across 20 or so local chapters. While we work to put together a report that captures our impact over the past decade, one thing I can say already: we’re tired and excited all at the same time.

As we look towards the future in a sustainable way, we plan to take a long term and deep thinking approach. Since our launch, our goal was two-fold:

  1. Internal: nurture a community that encourages women to help each other out and reject the competitive industry standard - online and offline.

  2. External: create awareness & drive conversation of our mission & goals via the online community and events. 

The global shift to the digital space rocked the music business and forced our community to find new ways of connecting and collaborating with one another. In some cases, it was forced to embrace new technologies that are once again reshaping how we produce, distribute and consume online outputs (such as AI and web3). Not only that, but our community has evolved from a group of mostly female music executives to include people of all genders who work in music both in a creative and business capacity; we have been welcoming more and more US-based members while maintaining our presence across Europe; more artists than ever before have been joining us in the past five years; we started expanding our programming beyond the gender conversation and developing our own educational content focused on the music business. We’ve had many highs and many lows and we’ve learned so much from all of it. The most important thing, we’ve stuck together through this all.

New questions around identity, community, economic value, inflation, governance, privacy and ownership have emerged, pushing the music & creative industries to reimagine their place in the world and on the internet. shesaid.so is no stranger to these questions. As a community, it feels that we, and the entire DEI movement, have arrived at a crossroads: on one hand, we have accomplished our mission to drive awareness of diversity and inclusion, and, on the other, it feels as if this newfound social awareness has created more polarization than ever before. If conversation & awareness were our goals thus far, where do we go from here? What is our place in the music business today and moving forward? Who are we and how do we capture this ever evolving communal agency that makes us, authentically us?

These are, truthfully, the questions that often linger on my mind.

Asking ourselves these questions doesn’t mean we cannot celebrate what got us here in the first place, however. This year is a special one and we are planning to commemorate it in special ways.

First off, a series of 10 events and digital experiences that celebrate 10 years of shesaid.so online and offline. Some of these will take place in popular shesaid.so chapter locations, while others are in completely new territories for our community to explore. Want a shesaid.so event in your city or corner of the internet? Drop us a note at hello@shesaid.so

One of our main goals is to empower our members to get ahead in their career and this year we’re putting our money where our mouths are. We can’t really say more at this stage but rest assured we will soon reveal our plans to financially support our community members around the world and enable you to bring your ideas to life. Stay tuned for updates!

Plus, more of what we do best: mentoring programs, educational content, networking and career development. Watch out for news filled with opportunities from our usual partners, and a heap of new ones.

I'm filled with gratitude as I write this. The 19 year-old me who left Romania to be a student in London would have never thought that, 10 years later, a small act of registering a new domain name with an unusual tld would lead to what shesaid.so is today. While we are working on clarifying what it will be, I think we can all look back with pride on what it has been. When I sat down to create the very first shesaid.so community platform (the same google group we still use today), I knew we may never reach the ultimate destination in my lifetime. To embark on a journey whose terminus may never be found is a strange feeling for anyone. And yet, I've learned more about myself from the hidden backwoods that this path has taken me on than I would have from simply crossing the finish line. 

I'm so excited to continue getting lost together in new ways on the way there. If you’re interested in joining the adventure, please drop me a line at andreea@shesaid.so and who knows what other interesting places it might lead us to.

Yours,

/AM

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  

shesaid.so x PRS POWER UP 2024

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In 2024, shesaid.so once again join forces with PRS to run POWER UP, the long-term initiative supporting Black music creators, industry professionals, and executives, while also addressing anti-Black racism and racial disparities in the music sector.

To achieve our aim, POWER UP X shesaid.so are looking for acclaimed music professionals, both creators and executives, to mentor and coach future industry leaders.

  • Mentors are matched with mentees based on experience, aims, needs, background and requirements by a panel of mentoring experts.

  • The mentors must a deep understanding of the barriers faced by Black music professionals; extensive experience within your area or a specialist skill set. It is recommended by POWER UP X shesaid.so that mentor pairs dedicate 2 hours per month to the 4-month scheme.

We provide training, a guidance handbook, access to 2x mentorship managers and £175 as a nominal gesture of gratitude for the mentors’ time.

If you can commit to 2hrs per month, please register here by the 31st of January.

To check out the success of year 1, 2 and 3 you can click here.

Building An Effective Music Release Timeline

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A successful music release is an orchestrated event that requires planning.

Read our guide to build an effective release timeline, ensuring maximum impact, visibility, and success for your music.

1 - Outline the Pre-Release Phase

Effective music promotion should start months before your release date. While social media efforts can allow you to gain traction, fans will want to know you’ve got new music on the way.

Pre-releases can help build excitement for your new release, increase discovery, and ultimately offer more fan engagement. Discuss tasks like finalizing your album, creating promotional materials, and setting up a pre-save link. This phase sets the tone for what's to come.

2 - Teasers and Countdowns

Engage your audience by introducing teaser content. Whether it's snippets of songs, behind-the-scenes, or countdowns, build excitement and anticipation leading up to the big day.

Here are some examples:

  • Share a short snippet of an upbeat track from your album, creating a mood of excitement and curiosity.

  • Show a brief behind-the-scenes video of the recording process.

  • Share the official tracklist and brief insights into the inspiration behind each song.

  • Share a throwback photo or video related to the making of the album.

3 - Host a Listening Party

Whether it's an intimate in-person gathering or a virtual event on Bandcamp, this strategy offers fans a limited opportunity to savor your entire album before its official release. Consider the following strategic steps:

Choose between an exclusive in-person gathering or an online event. Tailor the format to suit the nature of your music and the preferences of your audience. Encourage attendees to secure their copy, ensuring they are among the first to experience your music. Drive pre-orders directly from the event.

4 - Limited Merchandise Drops

Release exclusive merchandise tied to your new EP/single/album. Limited-edition items can serve as additional incentives for fans to engage and invest in your music.

Here are some examples:

  • Limited edition merchandise that combine your music with custom-designed apparel or artwork.

  • QR-coded merchandise that unlocks exclusive digital content.

  • Exclusive merchandise gain VIP access to e.g. virtual events, behind-the-scenes content, or even a private listening session.

More Strategies to Keep In Mind

  • Host live Q&A sessions on social media platforms.

  • Engage with your audience and answer questions about your new release. If your release features collaborations with other artists, tease these partnerships on social media or through short video snippets. Surprise your fans with occasional unreleased tracks or exclusive remixes of your new works.

  • Consider offering exclusive collectables like hand-signed CDs/vinyl/cassettes.

  • Launch social media challenges centered around your music, encouraging users to create and share content.

  • Encourage fans to share your new music snippets, create user-generated content, or answer trivia questions related to your upcoming release.

  • Identify passionate fans who align with your music. Collaborate with them for exclusive content, giveaways, or sneak peeks.

  • Create a collaborative playlist where fans can add songs they believe complement or relate to your new release.

  • Encourage fans to create and share artwork inspired by your upcoming release.

** Top Strategy Note**

An email list is a valuable asset for any artist, as it allows you to communicate directly with your fans and followers. Use your email list to share exclusive updates, behind-the-scenes stories, and previews of your music.

To build your email list, you need to offer something valuable and relevant to your target audience, such as a free song, a video, or a PDF guide. You can also use social media, your website, or live shows to promote your email opt-in.

Did you know that shesaid.so members have access to exclusive educational content, music business workshops and talks, artist and music executive insights, networking events and more perks?

Gain exclusive insights directly from music industry executives and artists.

Become a member: shesaid.so/membership

Up Next: Lavaud

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Hailing from Hackney, East London with roots in Mauritius, Lavaud began her musical journey guided by her father, who exposed her to various genres like Zouk and R&B.

Lavaud cites the likes of Celine Dion, Mariah Carey, Aretha Franklin and Beyonce as inspirations for her sound. She received recognition from the MOBO Awards for single ‘Pictures’ before scoring a US ‘Top 20’ urban radio hit with ‘Deep’ and ‘In This Room’ - an acoustic single that she wrote, produced and recorded from her bedroom during lockdown that amassed over 500K streams and was playlisted by YouTube Music, Apple Music and Tidal amongst others.

Since then, Lavaud solidified her status as an artist to watch with her debut EP ‘King Vaud’ which received critical acclaim, scoring over 3 million global streams. She made a comeback with the single ‘Roll on Me’ featuring an all-star ensemble of very special guests that have shaped the landscape of African music, Tiwa Savage, Patoranking, Reekado Banks and Kanis, out now on DSPs via Saint & Citizen Music.

On the single, Lavaud said: “I’m so excited to be working with such iconic and generational talent. I love how all our cultures blend to create something timeless, that’s the beauty of music”.

What has been the most rewarding moment in your journey so far?

One of the most rewarding moments of my career so far would have to be seeing myself on a massive billboard in the middle of Old Street, a place where I used to sing from the age of 16. Growing up, I would go to sing in all these bars, trying to get people to listen to my music. To see my music on a massive billboard promoting me and my fellow artists that are on the track (Roll On Me) with me, just this whole experience of releasing “Roll On Me” me has been one of the most rewarding moments ever.

I've definitely manifested that and it just shows the power in believing in yourself. I'm pushing a working hard, you can definitely get all the things that you've ever wanted. Also, Billboard Top 100 shout me out for charting on two massive Billboard charts, one at number 28 and one at number four. That was a sick experience for me, so super grateful.

3 things you can't live without in your bag

The first one is a pair of Valentino shades. I carry them everywhere I go. If I go into the corner shop, or I want to go to the supermarket or wherever and I can throw these on and have no makeup on. If I want to get into character, to be moody in the booth while I'm singing, I throw these on. They've been rocking with me for about four years. So yeah, can't live without them. Valentino shades.

The second one would be a Christian Dior OUD. I get really bad car sickness and get really nauseous, so sometimes smelling this just helps it go away. Also, if you are in studio all day, and you need to just want to smell a little bit fresh after a long day singing. This just tough to trade, you don't need a lot.

Then third the obvious is my phone but mainly because I love to take pictures and I love to capture memories of my friends, of food etc. I can look back at something that happened in 2017 and just laugh. It will just make me feel happy and light. I love capturing memories on my phone.

Favorite music to wake up to.

The music that I listened to in the morning is 432 Hertz frequency music. For me, it releases endorphins in my body. It does the same thing as when I hug someone or when I laugh or when I run in the gym. It just does something for me, it sets my mood and grounds me in the morning.

I also love to romanticise my life and every little thing of my day. I feel that (the artist) Al Green does the trick for me (every time I'm making my breakfast in the morning, or I don't know showering or brushing my teeth). His music just makes me feel like I'm in the movies, it just makes me feel good. So yeah, romanticise your life, it is the best thing I've ever done.

Your top tip for finding your creativity and a tough day.

Honestly, is chill. Don't force it. Don't overthink it, if it's not coming in and it's not flowing for you. I would watch something that would inspire me like a Beyonce documentary. Or I might just watch my favourite movie. Go to a museum, hang out with my friends, do things that won’t put pressure on my brain. Because the moment I put pressure on my brain, and I start to self sabotage and get frustrated with myself, I realise that none of that is going to come up. So, literally, just go live your life and come back to it. I promise you; if you sleep on it, and come back to that song the next day, you will come up with a smash.

Artist Spotlight: Belle Chen

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Belle Chen is a pianist and composer that skillfully blends piano melodies with synths, creating a seamless fusion of acoustic and electronic music.

Belle released the single 'Three Birds', as a preview of her upcoming album, "Ravel In The Forest," set to be released on February 16, 2024, through Platoon. The album, inspired by nature and created as an imaginative world through music, invites listeners on a journey filled with richly cinematic, ethereal compositions.

The album's production involves a collaboration with the Budapest Art Orchestra in tracks like 'Closer' and 'Moonrise,' showcasing Belle's diverse and intriguing approach to music creation. 'Ravel In The Forest' defies categorization, providing a refreshing experience that reconnects audiences with nature, music, and introspection.

Your new album, 'Ravel In The Forest,' takes listeners on a journey through nature and imagination. Can you share more about the inspiration behind it?

My new album Ravel In The Forest was inspired by the feeling of losing oneself in your imagination while being in nature. So in this album, you’ll hear textures and colors and sounds that were inspired by the movements and the colous of the flora and fauna found in forests.

Could you provide some insights into your classical training and its influence on your work, particularly when blending contemporary and electronic music? How did your classical background play a role in shaping the sound of this album?

My classical training is like the foundation that I build my own music language upon. And for me, it's like a big dictionary that I can draw words from to tell my own musical story. In this particular album (Ravel in the Forest), I draw inspirations from the approaches of Impressionist composers such as Maurice Ravel, and how they evoke certain feelings through the use of colors, light and shade and combining that approach with the technology that we have today, through the use of synths and production technique to create this whimsical, imaginative world that's this new album.

Making music for me is a very intuitive process. I'm always guided by the end feeling of what I want to create for the listeners. And in this journey to get there I would explore the different options and textures and colors that's available, and are the most appropriate to create this end feeling. Sometimes I find it through classical approach and sometimes I find it through more electronica kind of approach. Sometimes it's a hybrid, so it's never really the same.

The concept of 'Ravel In The Forest' seems deeply connected to nature and introspection. How do you believe music can serve as a medium for self-reflection and connection to the world around us?

For me, music is a really important medium for self reflection and introspection, because I think it creates this pocket of time and space to be really with yourself, and be really honest with how you're feeling and seeing the world. And in a way, music can also be a shared experience.

When a musician shares a piece of music with a world, we're actually sharing a part of how we see the world and our perspective as well.

And when two people share what they're listening to is similar; they're sharing how they see the world. It is a moment and a medium for connection, as well as self reflection.

As an artist who has performed globally, can you share a memorable moment from your performances at venues like the Royal Albert Hall’s Steinway Series and the National Theatre of Korea?

My most memorable moments when I'm performing happens when I feel like I'm in sync with the audience. You can feel the energy coming back in and I feel like we're on a journey together. And I feel like I'm getting to know them on a very deep and personal level. And so those are the most fun and memorable moments for me.

Your journey includes being recognized as an Associate of the Royal Academy of Music in London and being a Yamaha artist. How have these affiliations influenced your growth as a musician?

I'm hugely grateful for the affiliations. I think both the academy and Yamaha has played such important roles in my musical DNA and in my journey so far, and to be able to partner with Yamaha on special projects especially has made a big difference.

What does your morning routine look like?

My morning routines are usually done in silence and solitude. That's where I think most clearly and my best and usually that involves meditation, reading, journaling, and then plotting up my day with a good cup of coffee before getting started.

Your tips for finding your creativity on a tough day

So when I'm having a tough day, I usually time box an hour or so to create as freely as possible. And usually that involves sitting in front of the piano and improvising and recording that on the voice memo. I think it is done without any intention, without any pressure. And then I'll step away go for a walk around the block clear my mind. And usually on these days I try to be gentle with myself and kind with myself, because some things just take time and sometimes it takes longer, and that's okay to take longer.

shesaid.so LA Radio: Starya

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Elyn Kazarian is back in the dublab studio on January 20th for another episode of the shesaid.so LA Radio with special guest DJ/producer Starya.

Starya’s quality tracks and mixes have earned her opportunities to open for artists such as Skrillex, Justice, 2manydjs, Kill The Noise, Tokimonsta, ZEDD, Arty, Mija, Boys Noize and Dillon Francis to name few.

As Tuff Ghost, she could smoothly switch between hip-hop, techno, electro, house, and dubstep— a DJ's DJ.

As Starya she emerges in her true form, singing over her sets to haunting original pop-house songs with an ethereal otherworldly edge that’s distinctively hers.

In the first hour of the show, Elyn's set will feature music from artists such as Empress Of, Jockstrap, Blondshell, and many more. In the second hour, Starya is in control of the booth, showcasing her unique style

Click the image below to listen to the show:

Connect with Starya

shesaid.so Radio

with Elyn Kazarian

shesaid.so LA

3rd Saturdays
12PM - 2PM

Formed by members of the Los Angeles chapter, shesaidso Radio LA aims to motivate, connect, and showcase the work of inspiring women worldwide. The monthly show features interviews and themed discussions exploring industry news, trends and women’s ever evolving forms of influence within the music ecosystem.

Interview: DJ Paulette

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DJ Paulette

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

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

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

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

What were your first steps in this industry?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Interview by ninakeh for shesaid.so

we.grow with ALLIES Mentoring Program Launch: FMLY Agency

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We are excited to announce our new monthly micro-mentoring initiative, we.grow with ALLIES, a speed-dating-style program that provides shesaid.so members with short-term, one-on-one mentorship from experienced industry professionals.

Mentors are hand picked from our vetted list of corporate ALLIES which includes companies across all areas of the music business and other related fields. Each month, shesaid.so members will have exclusive access to one-hour, one-off mentoring sessions with a mentor from the selected ALLIES member.

we.grow with ALLIES is inspired by the incredible work we have done as part of our mentoring programs and a desire to scale mentorship to as many members of our community as possible.

To kick things off this month, we have invited FMLY Agency, a leading independent booking, management and talent development agency based in the UK. As a shesaid.so member, you will be able to book your 1h mentoring session with one of the 4 mentors provided by FMLY: Amber Brzeski, Agnese Daverio, Jule Konrad and Alasdair Howie.

This program is a shesaid.so-led initiative, designed to to scale mentorship to as many members of our community as possible.

Head here to learn more about how the program works.

5 Key Trends For Independent Artists In 2024

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Discover the strategies to grow as an independent artist in 2024 by adapting to trends, embracing innovation, and building strong, direct relationships with your audience for a sustainable and fulfilling career path. Learn how to use these trends for a successful music career.

1- Short Form Video Content

In 2024, platforms will continue to prioritize short, engaging content. Designed to capture attention in a minute or less, they are made to turn scrolling thumbs into fans.

Bite-sized videos are short but impactful when it comes to reaching new fans. Utilize these clips strategically to share a quick introduction to your music that’s memorable.

2 - AI & Data Analytics

AI will continue to revolutionize music marketing for indie artists. AI as a tool could identify your audience and predict potential fans based on deep data analysis. This will enable artists to tailor music, marketing, and merch for maximum impact. Moreover, predictive analytics could set trends by suggesting optimal release times for new tracks, ensuring they stay ahead in the industry.

3 - AI Integration in Music

AI and AI tools are likely to become more normalized – along with an increase in AI tools and hopefully clearer laws on AI and copyright. For instance, YouTube's AI incubator signals a movement towards empowering artists, songwriters, and producers.

AI tools for music will become more commonplace allowing a greater focus on creativity. AI is also poised to offer solutions for operations like catalog tagging, music mastering, and personalized playlists.

4 - Social Media & Fan Engagement

Instagram and TikTok evolved into spaces for music discovery and for sharing updates/promoting music with your community and superfans.

Social media will continue to impact how fans consume and experience music and how artists engage with their fans and connect with their communities. Focus on exclusive content, direct interaction, and behind-the-scenes glimpses.

5 - Alternative Monetization Strategies

Consider diversifying your income streams by tapping into various revenue sources. Explore opportunities in merchandise sales and personalized experiences.

This shift not only enhances financial stability but also allows artists to explore the full spectrum of income-generating possibilities.

Did you know that shesaid.so members have access to exclusive educational content, music business workshops and talks, artist and music executive insights, networking events and more perks?

Gain exclusive insights directly from music industry executives and artists.

Become a member: shesaid.so/membership



shesaid.so Welcome Breakfast at the Night Time Economy Summit

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NTIA will host their Night Time Economy Summit in Greater Manchester between Thursday 8th February – Friday 9th February 2024 in conjunction with Defected & VibeLab.

We are excited to host a FREE Welcome Breakfast Event at the Night Time Economy Summit. Our community is exclusively invited to join us on the 8th of February at Freight Island for a morning of insightful discussions, networking, and a warm welcome to the vibrant city of Manchester.

Attendees will also receive complimentary access to the entire summit, granted they arrive before 10:30 am for the 'shesaid.so Welcome Breakfast'.

The event will provide valuable insights into the Night Time Economy, with special guests Andy Burnham and Sacha Lord providing a warm Manchester welcome to all attendees.

Make sure to join us on the shesaid.so at NTIA Welcome Breakfast and make the most of the summit.

Event Details:

Date: Thursday 8th  February

Time:

- 9:30 am (Breakfast)

- 10:00 am - 11:00 am (Speakers and Networking)

Venue:

Freight Island, 11 Baring Street, Manchester, M1 2PZ

Agenda:

- 9:30 am: Breakfast

- 10:00 am: Welcome by Andy Burnham and Sacha Lord

- 10:15 am: Speaker sessions

- 10:45 am: Networking

The Greater Manchester event will see the most ambitious project to date with the summit hosting over 200 speakers across 2 days and 4 stages with some new and exciting domestic and international partnerships.

The event will discuss the important role that the Night Time Economy plays in the international economic and cultural recovery both internationally and across the UK. With dedicated stages next year for International Speakers hosted by VibeLab, with new additional stages expanding our cultural footprint representing Theatre, Live & Electronic Music.

The full programme for the Night Time Economy Summit and venue will be released over the coming months, with speakers and panellists approaching a huge range of topics from Brexit, Diversity, Harm Reduction, Drug Testing, Electronic Music, Safeguarding, Women’s Safety, Health, Well Being, Access to Funding, Grass Roots Music, Licensing & Planning, Supply Chain Energy, Cost of Living Crisis, Technology, Mental Health, Live Music, Grass Roots Music, Events plus much much more.

The annual UK Benchmark Reports on Night Time Economy & Electronic Music will also be released at the summit, with expert panellists discussing the current impacts and the true economic, community and cultural value within the current UK marketplace.

Don't miss this opportunity to connect with industry leaders, gain knowledge, and be part of the thriving night-time community.

Look forward to seeing you there!

If you would like to attend our FREE shesaid.so Welcome Breakfast Event, please access the following ticket link:

https://www.skiddle.com/whats-on/Manchester/Freight-Island/Night-Time-Economy-Summit---Freight-Island---8th9th-Feb-24/37135984/

shesaid.so Breakfast Access Code: SheSaidSo

*Please note to validate the ticket you must be on site between 9.30 am - 10.30 am, or you will be subject to standard admission fees.

With over 200 speakers and support from key industry players such as the DEFECTED, Home Office, NACTSO, Mustard Media, Department of Business and Industry, The Fair, Skiddle, Ticketmaster, Toolroom, Hospital Records, VibeLab, UKH, BBPA, Pioneer, ATC, Beatport, TikTok, Institute of Hospitality, Japan NTE Association, Institute of Licensing, Gig Pig, NDML, AGF, Listen for Life, The Loop, Earth Percent, MVT, Featured Artist Coalition, UK Music, Morning Advertiser, DJ Magazine, UKCMA, Asbares, Showsec, Carbon Literacy, SIA, Drinkstrust, PRS Foundation, Arts Council, Help Musicians, Attitude is Everything, shesaid.so and many more, this year's Night Time Economy Summit promises to be a phenomenal and groundbreaking event. Don't miss the opportunity to be part of the conversation that will shape the future of the Night Time Economy.

shesaid.so 2023 Recap

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We are revisiting our 2023 highlights; from spotlighting emerging talent to exclusive interviews with industry pros and artists, our journey from January to December has been full of community focused events, panels, mentoring programs, job and industry opportunities and curated content.

January Highlights:

  • Community Town Hall: Melissa Maouris, a Flow & Alignment Coach, creating a grounded vision for the future.

  • Member Spotlight with ESEA Music: Tiger Hagino. Read more.

  • Mix Series with Meli Rodriguez: Costa Rican DJ/Producer and founder of @plzstandvibe. Listen on Apple Music.

February Highlights:

  • Community Town Hall - "How Music Grows Brands": Explored insights with Rebecca Jolly, a Music Business Consultant & Author, uncovering the symbiotic relationship between music and brand growth.

  • Mentoring Programs: Collaborated with Keychange on the 2023 edition of the WeGrow Mentoring Programme. Learn more. Also, partnered with MPA for the "shesaid.so x MPA - Coaching for Progress" initiative. Read about it.

March Highlights:

  • Community Town Hall - Member Survey Feedback & AMA: Community discussion and feedback.

  • Exclusive LA Screening of the movie "Spinning Gold" and panel with Joyce Bogart Trabulus. Read here.

  • shesaid.so London Celebrates Women's History Month": Partnered with DICE & Ballentines to honor Women's History Month.

  • Residency Announcement - "shesaidso x Pirate Residency": Unveiled our exciting residency initiative. Learn more.

  • Editorial Series (Mix) - Mix Series with YonYon: Dived into the beats of YonYon, an artist. Listen here.

  • Editorial Special - Women's History Month: Featured Temima Shames, Nikisha Bailey, and Ranya Khoury, highlighting their roles in the industry. Read more.

April Highlights:

  • Community Town Hall - "Maximizing Your Music Career with the Power of Creative AI": Explored the intersection of music and AI with Water & Music's Yung Spielburg & Kristin Juel.

  • Member Spotlight - #42: Rebecca Jolly: Featured Rebecca Jolly, Founder of Sounds Nice Music Consultancy. Read more.

  • Video/Promo - "Miami Brunch with Meta": A brunch with Miami's Chapter, sponsored by Meta. Watch on Instagram.

  • Radio Show - "Ballantines Takeover at Soho Radio": Joined forces with Ballantine's True Music for a radio show. Listen on Mixcloud.

  • Artist Spotlight: Explored Elkka's DJ-Kicks mix. Read more.

  • Spotlighted CloZee in our Up Next series. Watch CloZee.

  • Launched the Miami chapter. Learn more.

May Highlights:

  • Community Town Hall - "Beatport & IMS Updates"

  • Up Next with iamkyami an artist at ESEA Music. Watch the feature.

    Music Insider: Antònia Folguera (Curator at Sònar+D). Read more.

  • Member Spotlight: Spotlighted Adel Hattem, CEO & Founder of D Music Marketing and Chapter Director of shesaid.so Miami. Read more.

June Highlights:

  • Community Town Hall - "Catalog Management & Royalty Collection": Explored the intricacies with Jamie Dee Hart, Founder/CEO of Hart & Songs.

  • shesaid.so's Guide to Pride: Celebrated Pride with our comprehensive guide. Explore here.

  • Artist Spotlight: Arlissa: Read more.

  • shesaid.so x Mixmag Lab x Pioneer DJ: BBC Radio 1 presenter/DJ Tiffany Calver. Watch on YouTube.

  • shesaid.so Montreal: Project Crescendo: Highlighted the impactful Project Crescendo by shesaid.so Montreal. Explore here.

  • Mix Series: Jessica Skye: Listen on Apple Music.

  • Music Insider: Insights from Xylo Aria, artist, producer, and founder of music production for women. Watch on Instagram.

July Highlights:

  • Community Town Hall - Ableton Live Workshop: Explored the depths of Ableton Live with Xylo Aria, Founder of Music Production for Women.

  • Mentoring Program (Chapters) - shesaid.so SA Mentoring Program: Launched the mentoring program in South Africa. Learn more.

  • Event (Virtual) - All Access Fest Virtual: Participated in the virtual All Access Fest. Recap the Access All Areas experience.

  • Video - Music Insider: Carly Wilford: Gained insights from Carly Wilford, DJ/Music Producer at Armada Music. Watch on Instagram.

  • Video - Music Insider with Shiba Melissa Mazazza: Explored the world of music journalism with Shiba Melissa Mazazza. Watch on Instagram.

  • Editorial Series - Artist Spotlight: L U C II A: Spotlight on singer/songwriter L U C II A. Read more.

  • Editorial Series - Member Spotlight: Jennifer Justice: Featured Jennifer Justice, Founder & CEO of the Justice Dept and Host of the Takin’ Care of Lady Business Podcast. Read more.

  • Mix - Mix Series: DJ/Producer Cristina Lazic from Crosstown Rebels. Listen on Apple Music.

August Highlights:

September Highlights:

  • Created the NINA Content Library: Our ever-growing content library featuring educational content, exclusive interviews and more.

  • Community Town Hall: Music Distribution, Sync & Strategy with Janice Wang and Kaulyn Lee-McNeill from Venice Music.

  • Music Insider: Iiris Vesik. Read more.

  • Mix Series - shesaid.so Mix 050: Bae Blade. Listen on Apple Music.

  • Chapter Launch: Nashville: Welcomed Nashville into the shesaid.so community with Kiki O'Connell and Jenny Reader. Discover more.

  • Celebrated the addition of Nikki Raymond as the Co-Director of shesaid.so Dublin. Read about it.

October Highlights:

  • shesaid.so x ADE 2023:. Explore our full program; in collaboration with ADE, Cosmopolitan, Ballentines, and Meta.

  • we.grow Mentoring Program at ADE 2023: Learn more.

  • War Child: Day of the Girl Industry Day: Hosted a panel with Kemi Rodgers, Komali Scott-Jones, Nicky Langley, Lex Hearth, and Jess Iszatt. In collaboration with War Child and Youtube Music. Learn more.

  • Community Town Hall: From Burnout to Freedom: Gained insights from Tommy Sobel, Digital Habits Coach and Founder of Brick.

  • Member Spotlight: Janice Wang, VP of Partner Acquisition and Success at Venice Music. Read more.

  • Music Insider: Halina Rice: Discover more.

  • shesaid.so Guide to ADE 2023: Explore the guide.

  • Up Next: Somadina.

November Highlights:

  • shesaid.so x Sony Music UK A&R Academy Launch Event. Read more here and watch the recap.

December Highlights:

  • Up Next: MEYY: Spotlighted emerging artist MEYY from EMEA Music. Discover more.

  • Music Insider: Gatlin: Gained insights from artist Gatlin. Watch on Instagram.

  • Artist Spotlight: Samantha Urbani: Shone the spotlight on singer/songwriter Samantha Urbani. Read more.

  • Member Spotlight: Nikki McNeil: Highlighted Nikki McNeil, founder of Global Publicit. Read more.

  • 'Threads That Bind,' a Dutch Dance Fashion Exhibition' at ADE 2023: Explored the fashion exhibition at ADE 2023 with Sanne van der Bruggen, a student at Fontys. Learn more.

  • shesaid.so LA Radio at dublab with Elyn Kazarian: Tuned in to the radio show with Tara Brooks. Explore the show.

  • ADE 2023 Recap: we.grow Mentoring Program. Watch on Instagram.

  • ADE 2023 Recap: Anna Filipiak's involvement with Ballantine’s Global team at ADE 2023. Watch on Instagram.

  • ADE 2023 Recap: Jackie Queens' participation in ADE 2023 with shesaid.so South Africa. Watch on Instagram.

  • ADE 2023 Recap: Cristina Lazic: Recapped the contributions of DJ/Producer Cristina Lazic (Lazic Records/Crosstown Rebels) at ADE 2023.

Big thanks to all our partners, guests and collaborators for their support and for generously sharing their expertise with our community. Grateful for the journey so far and excited for more in 2024.

'Threads That Bind, a Dutch Dance Fashion Exhibition' at ADE 2023 with Sanne van der Bruggen

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Our attention was caught by the "Threads That Bind: A Dutch Dance Fashion Exhibition," during the shesaid.so space at ADE 2023, showcasing six distinct outfits from individuals in the electronic dance scene. We asked Fontys student, Sanne van der Bruggen to guide us through the details of the student's project.

Hii, I am Sanne van der Bruggen, 20 years old and currently following the minor Dance Industry at Fontys in Tilburg.

In the past six months I have discovered that I really enjoy working in the events world. In my third year of HBO, I did an internship at the INTRO Festival of Avans University of Applied Sciences. Afterwards I decided to align my minor to that internship.

During my internship I gained experience as a content manager and I really enjoyed it. I am currently busy organizing my own event and am looking forward to further discovering which aspects of the electronic dance scene I like.

Could you provide a brief overview of some key details about your fashion installation at ADE 2023?

The exhibition consisted of 6 outfits from individuals from the electronic dance scene. Each outfit had a QR code attached to it, and behind that  the QR code there was a video in which the owner of the outfit explained what it meant to them.

In addition to the outfits, a video was shown on an LED screen in which Meegan Denkers AKA Redbastard introduced the exhibition by sharing her vision on fashion in the electronic dance scene.

What inspired you to participate in the 'Threads that Bind, a Dutch Dance Fashion Exhibition' as a student at Fontys, and how does your fashion installation contribute to the overall theme of the event?

There are many subcultures and trends within the dance industry, and fashion is a significant part of it. We strongly believe in the power of clothing as a medium to express emotions, creativity, and personality. On one hand, it showcases individuality and serves as a form of self-expression, but on the other hand, it can also foster a sense of belonging when styles or trends are embraced by many.

Can you share some insights into the creative process behind your fashion installation? How did you decide on the concept, materials, and overall design?

Together with my team we looked at which electronic music styles we thought should definitely be represented in the exhibition. We wanted to put together a diverse selection of outfits. It was important that newer trends but also some older styles in the electronic music industry were shown. We looked for people who we felt fit the persona of one of the styles and asked if they would make their outfit available for our exhibition.

Finally, what are your aspirations for your artistic creations?

By sharing personal stories of individuals from the dance industry, we were hoping to inspire visitors and encourage them to embrace their own unique identity , and for future creations and projects I would like to keep inspiring people while discovering the sense of connection that arises from the shared love for music.

Connect with Sanne:

Instagram: @sannevanderbruggen

Linkedin: Sanne van der Bruggen

Link to the official minor webpage

ADE x Fontys Page

  • Backstage Do´s & Dont’s (panel)

  • The World of Online Fan Communities (panel)

  • Workshop: Wave, music production beyond the mainstream (workshop

  • From Sound to Share: The AI-Infused Social Media art workshop (workshop)

  • Threads That Bind: A Dutch Dance Fashion Exhibition  (exhibition)

Artist Spotlight: Samantha Urbani

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Samantha Urbani is the artist behind the debut LP "Showing Up." From her rebellious roots in Mystic, Connecticut, to conquering Brooklyn's DIY scene with Friends in 2010, Samantha's journey is anything but ordinary.

After her old group “Friends” disbanded in 2013, Samantha chose collaboration over solo stardom, joining “Blood Orange” and diving into various projects. Tragedy struck in 2018 with the loss of close friend and producer Sam Mehran, propelling her into a six-month hiatus.

Nick Weiss, aka Nightfeelings, who pulled her back into music and sparked the creative process for "Showing Up."Co-produced by Samantha and Weiss, the album captures her spontaneous spirit. With contributions from friends like Rostam Batmanglij and Stuart Matthewman, it's a celebration of resilience and creative resurgence.

Want do you want people to get out of your new album ‘Showing Up”?

“Showing Up” that just came out is the health and the power of multiple feelings coexisting at once. There are lyrics and movements and music about a lot of really hard things. Heartbreak and alienation and mental health stuff and really close friends and family dying. And all of that is on this album. But on first listen, you might not know because a lot of it has very sick grooves. And a lot of it is quite danceable. And that was all very intentional. Because I think when you mute multiple feelings and truths existing at once is something that is really powerful to embrace. I think I was I went through a lot of hard things before the making of this album.

And for a while I was writing a lot of songs that really sounded sad. And I knew that that wasn't the way that I wanted to present these experiences. I wanted to find a way to make music that felt cathartic and joyful, and connective and energetic, almost like the breakthrough of celebrating survival through those things versus sitting in the pain of those things. I think that you can still honour the pain of those things. Feeling like a breakthrough or a sense of survival. I want this record to be the upbeat companion for anybody who's having a fucking hard time and anybody who's experiencing grief. Anybody who's had a really close friend leave, you know, this this existence. I want the record to be a companion that feels cathartic and feels optimistic, but also is like a witness to those kinds of experiences.

What’s your top advice to songwriters?

First of all, I think that we need to take these titles off of a pedestal, you don't need to think about yourself as an “aspiring songwriter”, or an aspiring artist, you are an artist, you are a songwriter. Trust your instincts, get in touch with that thread of unique insight and perspective that you have versus being a student, of how other people do their thing. I also always tell people not to let what kind of equipment or education, they have access to stop them from getting ideas down. I talk to a lot of people who are like, Oh, I have ideas for songs. But I don't play a lot of instruments. I don't know how to make a demo. I’m not where I want to be as a producer or something.

Don't let those ideas get away, because you think that they need to be represented more professionally or traditionally. I think that making weird little voice memos, kind of like… scrappy demos, in GarageBand, or whatever you have often is way more interesting and more authentic and cool than if you wait and find an engineer or somebody to help you do it in what you might think is the right way.

Don't let a lack of equipment or knowledge stop you from getting ideas down. Or make you think that your ideas aren't real, because you're not like “a real musician”, or there's something. I think a lot of stuff that's done really properly or traditionally can be boring. So yeah, mess around with whatever it is that you have.

Everybody who has an iPhone, or a MacBook has GarageBand on their phone, or laptop. That's actually how I started making demos for my old band. I had a lot of vocal ideas and melodies. I think if I had waited to do it ‘the right way’, I don't know if I would have ever done it. I started just recording all my vocal ideas to drum loops. And I had ideas for baselines, and I would just sing them and pitch them down. And I had ideas for synth lines, and I'd sing them and pitch them up.

I was a college student in a shitty small bedroom in New York doing that, and it turned into a successful band. So I always try to tell people not to look down on their ideas, because they think that they're not like a real musician. What the fuck does that mean? What does it mean? Just make stuff the same way that you can pick up a pencil on a piece of paper and draw. Pick up whatever you have and get your idea down. And if you want to collaborate with other people on it. That's awesome. I think it's like a very fun, cool, strong thing to do to find your collaborators. But it's great to approach them with a representation of what you want to make. So don't be scared to to make things from scratch and do things in your homemade way.

What has been the most rewarding part of my journey so far?

It's crazy, amazing, beautiful when you travel to parts of the world that you've never been to before, and you play a show, and there are people in the audience singing words that you made up in your bedroom. That is an incredible feeling, especially when those people are not only just reciting them back to you, it's like, they're this mirror, where the emotional thing that you were feeling that you put into words is actually something amazing. As a musician or a writer, that's definitely just seeing things translate and feeling that maybe you could do that for people in the same way that your favourite musicians have done that for you throughout your life.

But as far as my music journey at large, I have loved just time going by and getting a little bit older and being able to sort of be like a big sister figure to people who are at the age that I was when I started making music, any kind of like professional sense.People feel they're supposed to be anxious about getting older or time going by but to me, it's something that is so valuable and beautiful and can't be faked. It can't be rushed.

Having a length of experience that continues and grows is so special to me and being able to realise that I want to pursue more avenues than just making music but also working in music as I did a year I worked for an agile at. I worked for a year as an adjunct professor at NYU mentoring songwriting and production students. And now I work as an A&R at Secretly Group, discovering artists, developing artists, helping advocate for artists on the inside of a company like that. Just finding ways that it feels all of my experience matters good and bad. All the bad experiences that I had throughout my 20s I feel I've found a way to channel those things to really mean something for other people.

Sometimes in the moment, when things are either going good or bad, it's hard to see the value in them and it does take time for things to review reveal sort of their, their meaning or their value. Being able to sort of be like a shoulder and a voice of reason and a big sister and a mentor or whatever to people now is so fun and valuable to me. I wish I had somebody like that when I was younger. To be able to be a support system for other people is amazing.

Things you can't live without in your bag.

  1. A notebook. But not a regular notebook. It has to be a notebook that is like a monthly calendar kind of thing for the year because I really don't do well with Google Calendar. Only remember that I have to do things if I break them down. And also lyrics and stuff like that. I think I'm a lot more creative when there's some tactility to my actual writing and you can physically cross things out or you can kind of keep building by adding words to things. I just feel like there's a tactility to words themselves even the sounds that words make and especially as singers, vocalist, lyricist, whatever. There can be a disconnect in the tactility of words, if you're typing them. You can actually feel the shape of words when you're writing out letters in the same way that you can feel the shape of them in your mouth. That makes sense. No, that's crazy.

  2. What else do I like to have in my bag? I also shades because sometimes you need to be incognito. I often, go to coffee places or get food by myself. You have to kind of be in your own little forcefield world. So shades for sure.

  3. My phone? I hate to say it but how else are we going to record voice memos. I did use to have a cassette recorder and maybe that's cooler. I do like to talk about anti social media. It's nice to have mediums of recording that will also distract you with all the other bullshit that's on your phone.

  4. But maybe most importantly; two types of cards, a regular classic deck of cards, and a deck of monopoly deal. I've been playing cards, especially in the morning with another person. It’s a very centering thing that just feels really meditative. I used to use tarot cards a lot, but now I like to play Monopoly deal. I highly recommend it as something that’s slightly escapist, but not as bad as sprawling bad things.

Connect with Samantha on Instagram

Music Links

Up Next: MEYY

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In this month's edition of 'Up Next’ (our series showcasing rising talent), we're excited to feature London-based Belgian-Korean alt-pop artist MEYY, whose ethereal vocals and soundscapes redefine R&B and progressive pop. MEYY infuses creative songwriting with imaginative aesthetic references, shaping a musical narrative that calls listeners into a glossy digital universe.

MEYY joined forces with object blue on ‘Shut Up’, the result of an inspiring music writing camp organised by Platoon’s She Runs The Board, shesaid.so and ESEA Music, the community for the UK’s East and South East Asian music industry. Shining a light on the ESEA music community and female producers, songwriters & engineers in the industry, it’s a project close to the artist’s hearts.

‘Shut Up’ draws on a myriad of influences from RnB, soul, pop, UK bass, dubstep and techno, which melds seamlessly over MEYY’s sultry delivery and object blue’s deft inspired production, all the while maintaining an authentic DIY feel. London based Belgian-Korean alt-pop star MEYY joined fellow London based / Beijing raised DJ / producer object blue for a 3 day writing camp over Summer and everything just clicked.

MEYY said:

“Working with object blue was incredible. She’s so effortlessly talented and sharp and I think her deep affection and love for music is felt so thoroughly in everything she makes.” object blue: “It’s really nice to work with someone who has a different skillset.

‘Shut Up’ is an ode to all the heartbreakers trying to stand tall in their innocence. To all the actors and actresses who are, consciously or subconsciously, holding up the mirror while blowing smoke into your bedroom. A sleazy lullaby for a fever dream. I love that this song has tragedy and despair as well as sassy and silly bits. I think both parts are really important.”

This coming together of minds was made possible through Platoon’s ’She Runs The Boards’ music writing camp in partnership with ESEA Music and shesaid.so.

For this brand new program, ESEA Music worked with Platoon to curate and A&R the artists’ group sessions that took place across 3 full days at Platoon’s new state of the art Platoon 7 Studios over in Tileyard London. The aim was to shine a light on the ESEA Music community and to increase the number and visibility of female producers, songwriters & engineers in the industry. These sessions resulted in 2 brilliant singles from each of the artist groups, the first of which is MEYY x object blue’s ’Shut Up’.

Can you share a bit about the collaborative process behind 'Shut Up'?

Making ‘Shut Up’ was so much fun - shout out to ESAE community and Platoon for setting up this camp. Very talented Asian women making music was sick. object blue and I just got along so well. We laughed so much, talked so much shit and obviously we made music. This is my ideal setup for life in general.

The song also feels so intimate, so honest and close to us because we made it in two days and then a couple of months later it was released, which is something I've never done before. That was a cool experiment. For me it was nice to go back into the ease of things and music. So yeah making ‘Shut Up’ was super cool.

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

So my advice for people that are just starting out would be to just push the button. I think that because of the internet we are so aware of all the information that's out there and all the plugins or all the skills that may or may not be required anything can be quite overwhelming, sometimes even paralysing. I feel sometimes we think that we need to know and be prepared very well before we want to do something like that because we don't want to do something and then suck at it.

The point is to not think and obviously begin where there's this gap in between of what you want or what you can do, because you don't have all the skills yet to translate it. And that can be really struggle. But you will become better and should try and not focus too much on becoming better anyway. I think consciously or subconsciously you'll start making decisions that you wouldn't make if you would just go at your first incentive. At the core of it music should be really easy and really fun. to make and really important. So yeah, yeah, I would just say, push the button.

What influences your work the most? Science, dancing or music? Or anything else?

I don't know if anything really very explicitly influenced something else. I started singing before I started dancing, I've been singing since I was really really small. I think everything stems from the same place and intertwined in some ways. But it's not clear for me if something influenced me very suddenly. I think in general, though, everything I do, I make it very big in my head, I'm very dramatic in that sense. Everything feels really important for me and I kind of do that with everything.

MEYY joined forces with object blue on ‘Shut Up’, the result of an inspiring music writing camp organised by Platoon’s She Runs The Board, shesaid.so and ESEA Music, the community for the UK’s East and South East Asian music industry. Shining a light on the ESEA music community and female producers, songwriters & engineers in the industry, it’s a project close to the artist’s hearts.

MEYY has been featured on Wonderland, Dazed, Notion, Mixmag, DMY, BBC Radio 1’s Future Artists with Jack Saunders and more.

Object Blue can be seen on DJ Mag, Mixmag, RA, FACT, i-D, Pitchfork, The Face, BBC Radio 1 Annie Nightingale and more.

Member Spotlight #045: Nikki McNeil

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3 values that guide your life

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

Your top tips for staying grounded on a challenging day

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

shesaid.so LA Radio on dublab: Tara Brooks

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For this month's shesaid.so LA radio at Dublab Elyn Kazarian's guest will be Tara Brooks.

Tara is making some serious waves in the industry. Rather than producing just one genre or style, she is sonically inspired by personal experiences and connections with her environment.


Tara's out-of-the-box taste in a multitude of genres, paired with her passion for taking crowds through a journey of unique sounds and styles, enables her to stir crowds with a special & memorable experience. From deep & funky soulful grooves, trippy & hypnotic rhythms, raw acid, electro, techno, to breakbeats & indie dance, her goal and vision is to get you moving, grooving, and everyone in sync.

Always striving to elevate the vibe and connect with the dancefloor, Tara creates exhilarating sound experiences that are compelling, sophisticated, risky, uplifting, & healing.

Elyn will select the music for the first hour of the show.

CLICK THE IMAGE BELOW TO LISTEN

shesaid.so Membership Gift Cards

As the festive season approaches, we at shesaid.so are thrilled to introduce our new shesaid.so Gift Cards, an exceptional way to empower your friends, colleagues or employees and celebrate their contributions over the past year.

shesaid.so is a global community of music industry professionals and creatives whose mission is to make our industry equitable for all through education, mentoring programs, events, curated job opportunities and editorial content.

Why join shesaid.so?

Whether you are a woman or gender nonconforming person, a man, or an organization, you're invited to join the shesaid.so movement and be part of a meaningful change in the music industry.

Our community is made up of artists, A&Rs, agents, record labels, brands, artist managers, stylists, creative directors, music supervisors and so much more.

Our membership provides access to a wealth of resources, including:

✦ Educational content: Curated workshops, webinars, and mentorship opportunities to enhance professional skills and advance careers.

✦ Networking events: Exclusive gatherings to connect with industry peers, foster meaningful collaborations, and expand professional networks.

✦ Community support: A supportive and inclusive environment where members can share experiences, exchange ideas, and find encouragement.

✦ In-person and online events all over the world

✦ Early job notifications.

✦ Courses and workshops tailored to enhance your career growth and expand your network.

And much more!

We cover all areas of the music business, worldwide.

You can read more about our membership perks HERE.

By gifting shesaid.so Gift Cards, you are not only providing them with valuable resources for their professional development but also demonstrating your commitment to diversity, equity, and inclusion in the workplace.

Here's how shesaid.so Gift Cards can benefit:

  • Enhance music careers: Access to educational content, networking opportunities, and community support can significantly contribute to their professional growth and success.

  • Promote personal development: Encourage them to explore their passions, connect with like-minded individuals, and expand their professional horizons.

  • Foster a sense of belonging: Cultivate a workplace that values diversity and inclusion, ensuring that all employees feel respected, supported, and empowered to reach their full potential.

Share Your shesaid.so Story & Celebrate Our Community

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As we approach the end of another remarkable year, we're taking a moment to reflect on the power of community and the incredible impact shesaid.so has had on our lives. This December, we want to turn the spotlight on you, our members, and share your stories with the world.

Your experiences, challenges, and triumphs are an integral part of shesaid.so's narrative, and we want to amplify your voices. That's why we're calling on all our chapters to get involved in our upcoming community storytelling initiative.

We invite you to submit a video or a written piece that captures the essence of your shesaid.so journey. Share how this platform has shaped your professional growth, empowered you to connect with like-minded individuals, and inspired you to make a difference in the tech industry.

This is an opportunity to showcase your chapter's accomplishments, highlight your plans for the future, and promote your initiatives to the wider shesaid.so community. Your stories will serve as a beacon of inspiration for others, demonstrating the transformative power of our collective efforts.

Please follow the links below:

To submit your story via video, please visit HERE. 

To submit your story via text, please visit HERE.

5 Key Strategies for Effective Music Promotion on Social Media

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Strategic content creation is a catalyst for growth whether you're just starting out or breaking through as an artist. This isn't just about social media; it's about authenticity and connection in your craft. Here are some key insights to amplify your strategy.

1 - Be Intentional With Your Audio

Identify the most catchy parts of your music and build your social media campaign around this. Is it a chorus, a beat change or lyrics? These moments are your golden opportunity to grab your audience's attention and to make your music memorable. While this isn't a call to action to "create" music for social media, it's about recognizing the elements in your existing music that have the potential to convert listeners.

2 - Brand Voice

Your content on social media tells a story about you as an artist. Are you projecting a vibrant image, or is your content moodier and edgier? Elements like location, colors, contrast, and tone play a crucial role in defining your brand and how authentic it appears to your audience. It's essential to be intentional about the image you project because it can shape the perceptions of new and existing fans. Your brand voice should align with your music and personality, creating a cohesive and relatable identity.

3 - Video Frame

There isn't one specific format that's guaranteed to crush on social. One pattern (among many) is the subject, especially if it's the artist, occupying a significant amount of space within the video frame. Experiment with being prominent in your video, even if it means taking up 3/4 of the video frame. The depth and space you occupy in relation to the background can help capture people's attention as they're scrolling by, making you stand out.

4 - Text Enhancement In Video

Not every video requires text, but it can be a valuable addition, depending on the content. Whether it's displaying lyrics or transcribing what's being said, text on screen can help retain viewers' attention and keep them engaged. Additionally, text can reinforce lyrics or provide context, making it easier for viewers to connect with your music. Consider using text strategically to enhance your storytelling and engage your audience effectively.

5 - Utilizing Social Platform Features

Creating content takes time, energy, resources, and hard work! When posting the content you worked so hard to create, it's worth being intentional with using the features of each social platform to maximize the post. For example, on Instagram, you can utilize Collab posts to reach a wider audience. Each platform has its own set of rules and best practices; it can be hard to keep up with them all, but they are worth considering to maximize your content.

BONUS TIP 1: Consistency is Key

Consistency builds trust and reliability with your audience. Establish a consistent posting schedule. Whether it's daily, weekly, or bi-weekly, a predictable posting pattern keeps your fans engaged and helps build anticipation for your next piece of content.

BONUS TIP 2: Engage Your Audience

Respond to comments, ask questions, use a broadcast channel, go live and create a dialogue with your audience. Engagement builds a sense of community around your content and encourages followers to become active participants.

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