Interview

Red Bull Records' Morgan on Her Newest Project 'Emotional Gangster'

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Morgan is one of the UK’s most exciting rising stars in Pop and R&B, with over 80 million combined streams, a dedicated online following, and a new label home at Red Bull Records. Her forthcoming project, titled Emotional Gangster, features a collaboration with dancehall heavyweight Byron Messia.

Morgan's journey started young—she began performing at just three years old, and by 18, she was touring the world as a vocalist for Rudimental. Her solo career took off with the release of ‘My Year,’ a sparkling pop debut, followed by the hit collaboration ‘Mulholland Drive’ with Ebenezer, which earned over 10 million streams. Her subsequent EP Alien was packed with golden-era pop influences and featured collaborations with Anne-Marie, Cadenza, Dyo, Preditah, and Rudimental.

At 17, she wrote ‘ADCT,’ which later climbed to the top of both TikTok Trending Sounds and the UK Top 50, racking up over 25 million streams. Morgan has also co-written and featured on major tracks like Rudimental & Digga D’s ‘Be the One’ and Sigma’s ‘Adrenaline Rush,’ which sampled Bittersweet Symphony. Recently, she’s expanded her reach by writing for top K-pop artists like NCT’s Jaehyun and will feature on Purple Disco Machine’s upcoming album PARADISE later this year.

Now, with two sold-out London headline shows under her belt and her first UK headline tour set to kick off at the end of the year, Morgan is one of the most emerging talents in the scene. Her latest single, ‘Wheel Up,’ a collaboration with Jamaican superstar Byron Messia, dropped on 25th September via her upcoming sophomore EP Emotional Gangster, out on 25th October.

In this Q&A, Morgan opens up about her new single “Wheel Up”, working with Byron Messia, and what fans can expect from her highly anticipated EP.

Your new EP Emotional Gangster is dropping soon. What is the story/inspiration behind it?

I'm so excited for this EP to drop - it's been a minute since I dropped my own music. The story behind it is pretty simple. Firstly, a lot of people, especially my friends, think that I am this super tough person - I have an extremely tough exterior (it might be the Aries in me - I have a lot of fire). However, I am hugely emotional and sensitive at heart. Secondly, I wanted to create a project that incorporates both sides of my personality whilst also highlighting the versatility in my sound and songwriting. I absolutely hate being put in a box.

“Wheel Up” feels like an homage to Jamaican sound system culture, but also taps into the UK rave scene. How do these two worlds connect for you, and where do you fit in?

I'm half Jamaican and  half British so the connection is plain and simple. I'm a proud product of dual heritage and you can hear those influences in my music. 

What is your top networking tip for connecting with the right people in music e.g. a manager or a record label?

Never rush into a working relationship. Take your time sussing people out and ensuring they have the best possible intentions. I built a relationship with my manager for at least a year before entering a business relationship with her. 

Tips for finding your creativity on a tough day

A producer once told me to keep on creating even when I feel creatively blocked as it helps you get all the s*** out - that stuck with me. I try to keep writing even if I'm not feeling inspired. Even if a session isn't how I have wanted it to go, I've still learnt something that day. 

What advice would you give to artists that are just starting out?

Perseverance and shamelessness are key! 

3 things you can't live without in your bag

You will never see me without a lip gloss or lip liner - it's my makeup staple. I always need my phone - especially when I am in sessions, my notes section is literally where you will find all my song ideas and lyrics. Lastly, my car keys - I literally drive everywhere and always seem to be in my car (it's become a running joke with my team... even every zoom meeting involves me in or next to my car).

Morgan will go on a tour this November, headlining five shows across the UK, including a date at London’s iconic Jazz Cafe. The dates are as follows and tickets are available HERE:

November 25: Glasgow @ The Poetry Club

November 26: Manchester @ YES

November 28: London @ Jazz Café

November 30: Birmingham @ The Sunflower Lounge

December 1: Bristol @ The Louisiana

Filah Lah Lah on Creating the First Ever Visual Album by a South African R&B/Soul Artist

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Emerging R&B and Soul artist Filah Lah Lah dropped her debut album On Air in May. Shortly after, she released the first-ever visual album by a South African R&B/Soul female artist, performing all 18 tracks in a 36-minute film that invites listeners on a journey of self-discovery, blending soulful melodies, introspective lyrics, and striking visuals.

Filah Lah Lah’s musical journey is rooted in her childhood, heavily influenced by her father’s love for Jazz, Funk, and Rhythm and Blues. Exposed to legends like Nina Simone, Miles Davis, Marvin Gaye, and Smokey Robinson, Filah has developed a distinctive sound.

In this Q&A, we caught up with Filah Lah Lah to dive into the creative process of her debut album On Air.

What’s the story behind your debut album "On Air"? 

On Air is really an archival ode to media. Media had a huge influence on my wanting to be an artist and I wanted to explore that in an artistic way. 

What influences your sound? 

My parents’ love for Jazz and Funk had a huge influence. I’m a student of black music in general and that’s definitely because of my parents and the love they had for it. I wanted to emulate that love.

We love that "On Air" has a visual film! What was the creative process behind?

The sonics were already giving movie to be honest. We just followed suit visually and it all just made sense.

If you could play only one song from “On Air” forever, which one would it be? 

Vaughn’s Song for sure. It took me a while to write a song about my late brother and I i’m still feel like Vaughn’s song doesn’t articulate those feelings in the best way but it’s close and I know he’d be proud of it.

What’s your best networking tip? 

Don’t worry too much about how you’re being perceived. Image may be everything but when you’re so concerned about it I think it can take away from the essence of who you really are. I’m a yapping oversharer who likes to make people laugh and honestly that’s been one of my greatest networking tools - within reason of course.

For more information on Filah Lah Lah

Instagram | Twitter | Tik-Tok | Apple Music | Spotify

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tips for staying grounded on a tough day.

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

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

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

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

What are you listening to at the moment?

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

Connect with Lisa Simpson on Instagram & LinkedIn

Check out Easol

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Connect with Izzy Fincher

Instagram: @izzy_fincher

Facebook: Izzy Fincher - Guitarist

Website: izzyfincher.com

AQUTIE: Celebrating NYC's Club Scene & Queer Culture in 'Coolest in The City

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Cover Photo by Emma Brawley

AQUTIE is an emerging artist who's gaining recognition in the music scene, having secured notable support slots in New York City for artists like Black Coffee and Uncle Waffle and performances alongside Dennis Ferrer, HoneyLuv, and Afriqua, with another show scheduled with Keinemusik at The Brooklyn Mirage on July 5.

AQUTIE curates her own event series “Heat House” in Brooklyn. The event showcases dance music across the African Diasporas and has attracted attendees such as Janelle Monae, Little Simz, Sir John, Jitwam, and more. Earlier this year, she performed at Tyla’s release party, and last year, she made her debut at Boiler Room with the amapiano party AMAPROBLEM in Toronto.

AQUTIE recently released her debut EP titled 'Coolest in the City' on Noir Fever Records (an independent label dedicated to driving sustainable and impactful changes in the future of Black dance music, founded by Aluna of AlunaGeorge).

How did you start your career in music?

I’ve been involved with music since I was young. I started out in the church by singing in the choir and as I got older my mom put me in many different activities like the violin, which I played for many years. I also danced as well and did theater. DJing came along while I was in college and I’ve been producing since 2020. 

Talk to us about your debut on Noir Fever Records

Noir Fever is an independent label created by Aluna (of AlunaGeorge). Their aim is to promote black electronic dance music and they support & provide a sense of community for those who are in these spaces. It’s also where I released my debut EP, ‘Coolest in the City’, which I’m so proud of.

What was the inspiration behind your debut EP ‘Coolest In The City’? 

‘Coolest in The City’ is my ode to NYC, the queer community, & the club scene. My homegirl is the one who actually gave me the title. She was just giving me my flowers and said, “you’re really the coolest in the city”. In that moment I felt very appreciative and very seen. For someone to see me in such a way made me feel good because being in this industry you go through a waves of emotions and sometimes it can make you feel like you aren’t doing enough. Meanwhile people are watching you and they’re seeing you make moves and watching your journey. So for me I felt very humbled that as she was giving me my praises. I felt loved. 

Can you share any favorite moments from your tour where you joined artists like Uncle Waffles, DBN GoGo, and Black Coffee?

One common feeling I had for each of those gigs was that I was apart of a monumental moment in South African music history. All of these artists were able to have sold out headlining shows in NYC and I got to be apart of those moments. For me it was like a dream come true. I felt very proud to be South African and was thankful to be apart of those moments.

How do you approach curating a setlist for performances such as Boiler Room or Brooklyn Mirage?

A lot of the time I am just going with the flow. I don’t plan my sets. Especially because my music is very organized, I always go in knowing that I’m good to go. I like to read the energy from the crowd because every gig is different so a planned set is not ideal for me. Like every DJ, I have my favorite tracks, but 98% of the time I’m winging it. I like to let the music guide me.  

What challenges have you faced as a South African/Guinean female DJ in the industry, and how have you overcome them?

Definitely people undermining me but also people being intimidated by me after I’ve shown that I’m good at what I do. I overcame it simply by making sure I protect my energy from those kinds of people. Some people wanna derail the good energy but my main thing is to always remember why I’m here and why I do what I’m doing. I have a great tribe of people that support me and we all lift up one another. Having community is the key to blocking out all the unnecessary noise.

What is your top networking tip for connecting with the right people in music e.g. a manager or a record label?

Just be yourself. Move with intention but don’t force things. Get to know the people outside of just doing business with them. Show support and be genuine. Also don’t be afraid of rejection. That’s just the reality of it. These people get hounded daily so a lot of them might be very cut throat and it’s okay if you don’t connect in that moment. There are so many other people to meet in this industry. You just continue being authentic and the right people will gravitate towards you.

Your top advice for young people wanting to become music producers/singer-songwriters etc.

Be patient! Don’t compare yourself to others because comparison is the thief of joy. Focus on yourself and on your mission. Don’t be afraid to be different. Find what makes you unique and really hone in on that. 

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

My favorite thing about making music is when I finally get the groove of what I’ve been trying to create. The least favorite is definitely when I get a road block but what helps me is stepping away and revisiting it later. I don’t like forcing things cause that’s when the music starts to sound a little weird.

What are you listening to right now?

Besides my new EP, I’ve been rinsing Kaytranada’s new album. I love it so much. That’s my musical husband.

3 things you can't live without in your bag

My Vaseline, gum & ID/bank cards

IYAMAH's Rootsy Soul Sound and Debut Album, 'In Two Worlds'

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Brighton-born, London-based vocalist and songwriter IYAMAH is carving out a unique soulful R&B sound she calls Rootsy Soul.

Growing up on the sounds of African drumming and reggae music, IYAMAH began to use song writing at the piano as a way of diary-like expression age twelve. By sixteen, she started writing top lines for DnB tracks with Brighton-based label Shogun Audio.

She went on to feature on My NuLeng’s “Senses”, touring the summer festivals including Glastonbury and SW4. In 2024, she has collaborated with Pola & Bryson on “Too Shy” and with DJ Zinc on “Stubborn”.

IYAMAH moved to London aged nineteen to study at the Institute of Contemporary Music Performance, winning scholarship award for best vocals. She has since been handpicked to tour with the likes of Masego and Mahalia, recorded live sessions for Metropolis Songs, Redbull and Majestic Casual, and sold-out multiple headline shows including The Jazz Café and OMEARA. She has accumulated over 20 million streams and received continuous support from Yazmin Evans and DJ Ace (BBC 1Xtra).

Her debut album, 'In Two Worlds,' delves into her relationship with her past and inner child, exploring themes like nature, success, spirituality and mental health.

Congratulations on the release of your debut album ‘In Two Worlds’! You mentioned that the album started with a Tarot reading. Can you tell us a bit about the inspiration behind the album?

Yes ‘in Two Worlds’ started off the back of a tarot reading. I was feeling torn between my dreams and my reality, so I guess it helped me to make sense of how I was feeling at the time and give a perspective I needed to hear. It was mental how the three cards completely reflected my situation at the time and gave some insight into my past, present and future. I decided to base my two worlds on the imagery that was presented to me that day 

‘In Two Worlds’ explores a variety of themes including nature, success, and spirituality. How do these themes reflect your personal experiences and growth as an artist?

My songs are always reflecting where I’m at in my life, or where I was when i wrote it. Nature is something I always come back to, it’s what grounds me, it’s always there whether you see it or you don’t. But my relationship with success is a little more complicated, it’s something I’m still figuring out today. Sometimes it’s important to me and sometimes it isn’t. Spirituality is always evolving and growing into different things each day and then you realise it’s all the same thing. You go in and out, up and back down with all of the above. Nothing is everything and everything is nothing! 

You've described your sound as "Rootsy Soul". What does this mean?

Well my music comes from my roots, it’s all the genre’s that inspired me growing up, reggae, hiphop, soul, jazz, and of course soul. 

As a newcomer in the music industry', can you share a special moment from the album's creation that really stood out to you?

It’s always special when the project finally clicks in to place. For so long it’s just this idea and all these thoughts going round in your head, and it can get confusing, the lines start to get blurred, and it’s easy to overthink and start questioning everything. Until it just makes sense. That’s a beautiful thing when you finally see it for what it is. But I think the most special part of this whole experience has been touring these songs with the band 2 years after it all began. They really brought new life back to the songs which gave me the spark again, and reminded me of how I felt when I first wrote these songs 

What is your top networking tip for connecting with the right people in music e..g a manager or a record label?

If you are your authentic true self, the right people will naturally gravitate towards you. Take note of those who cross your path, because it’s most likely for a reason. One thing that always sticks with me is what I was told that everyone you meet has something to teach you

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

I love everything about the making of the music, the thing I don’t like is the pressure of money and time 

3 artists you’re currently listening to

Mansur Brown, Bas, Famtoumata Diawara 

3 things you can't live without in your bag

Lip balm, sunglasses, Gucci guilty 

Tips for finding your creativity on a tough day

Go for a walk, then use voicenotes 

Your top advice for new music producers/singer-songwriters etc as an emerging artist

Follow your gut, listen to your intuition and your own voice. Just be yourself and connect with people who make you happy and bring out the best in you 

shesaid.so LA Radio: Rachael Hardway

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Elyn Kazarian is back in the dublab studio for another episode of the shesaid.so LA Radio. Elyn’s guest for this episode is Rachael Hardway.

Rachael Hardway is a multifaceted professional with a diverse background as a DJ, sound healer and artist's advocate.

Currently, Rachael oversees digital marketing strategy at Red Bull Records. Before moving to Los Angeles and joining the Red Bull Records team, Rachael spent over eight years at Sony Music and RECORDS, LLC. Additionally, Rachael is the owner and visionary behind Dauntless Media, LLC, an artist incubator and creative agency.

Rachael thrives in creative spaces, constantly filling them with questions, ideas, and strategies. Over the past four years, Rachael has been based in Los Angeles, California, after spending more than a decade in Brooklyn, New York.

Known for diving into intellectual rabbit holes, challenging assumptions, and obsessively resolving problems, Rachael's true passion lies in genuine connection, music, and creative direction.

Beyond marketing unbridled awesomeness and managing the myriad thoughts constantly buzzing in her mind, Rachael assists artists and brands with music marketing, brand development, and creating cool playlists for herself and others.

LISTEN HERE: shesaid.so LA Radio with Rachael Hardway

(July 20)

Charly Schaller: DJing with Disability

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What are your next steps?

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

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

Connect with Charly Schaller

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

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Photo credit: Emilly Obeng

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Interview by ninakeh for shesaid.so

Emerging Artist AVR Delves into Philip Glass Rework, MUGLER Collaboration, and Debut Album 'Salvation'

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AVR (Anna von Raison) is a polymath who blends art, music, innovation, and tradition. Her work is influenced by diverse references like Philip Glass, Grimes, Stevie Wonder, and Bernini sculptures. Frustrated with the routine of academic jazz piano studies, AVR began producing music that captures the feeling-everything-all-the-time internet era.

AVR has scored films for brands like Louis Vuitton and Dior and worked as a studio pianist and producer for artists such as Charlotte Gainsbourg, Tusks, Soundwalk Collective, and Franny London. AVR also consults and performs in fine arts contexts, including Gropius Bau Berlin and the National Gallery, and serves as a music curator for events like Berlin’s ‘Long Night of Museums.’ Her song ‘Under The Sand’ features on the soundtrack of the US movie ‘After Everything.’

Her release, 'Etude No.2,' a rework of Philip Glass, came out on Glass' label with an immersive video collaboration with MUGLER. Supported by BBC stations and publications like CLASH, Rolling Stone, The Fader, and i-D, AVR's music gained international attention from the start. She has performed at notable venues like Berlin’s Philharmonie, Notting Hill Arts Club in London, and Baby’s All Right in New York.

AVR’s debut album ‘Salvation,’ released on June 7, reflects a softer, warmer sound, integrating her jazz and neo-soul influences. Independently published and four years in the making, it features guest soloists Viktor Wolf and Sylvia Hlynsdottir. The album, the final part of a trilogy, marks AVR’s evolution as a solo artist.

Describing her creative process, AVR says: ‘I love collaging and clashing musical bits that typically don’t live in the same world - I am looking for that new sound, seeking innovation but also romance. I try to avoid the dangerous temptations of musical training. Working from instinct, I give the subconscious free reign, into an ecstatic flow. For me, making music is like scoring the movies in my head.’

On ‘Salvation’, this approach results in hazy ambient journeys combining jazzy choirs,cinematic strings, Motown bass, trip hop drums, and bright vocals. Tame Impala-stylesynth solos appear, while experimental bits of sound toy with the warm breeze.

 "Salvation" is the final act of a trilogy. What’s the inspiration behind it? How does it connect with your previous EPs "Vibration" and "Hallucination"?

Salvation is the last part of trilogy that started with EP1 Hallucination and EP2 Vibration. This trilogy for me is part of my transition of mainly working behind the scenes as studio pianist, producer and composer for other artists, brands or film. Musically it’s the genesis of AVR as a solo artist in the sense that those 3 acts each represent part of my musical selves. Hallucination works with a lot of classical piano fragments, some that I composed, then one of Claude Debussy. Vibration, my second EP, is much more beat focused and has generally a darker synth-, more distorted and rebellious vibe. Salvation is the warm rain, the liberation, the letting go. There’s a lot of warmth and jazzy, souly references. I intended it a bit as a musical retreat. We live in such a complicated time and I still want to believe in the power of music to unite and remind us of our shared humanity. But I feel if we dont retreat from time to time you lose the energy to stay political and hopeful.

Can you share more about the process of collaborating with Philip Glass' label and French fashion house MUGLER?

I have been a big admirer of Glass’ works for a long time, and always loved Beck’s rework on a rework-only-album from 2012. At one point I just started to play around in Logic with the Piano Etude No.2 and once finished showed it to director Alex de Brabant who felt immediately inspired to do a video. We requested a wardrobe collaboration with Mugler and somehow our moodboard for the video convinced them to send a beautiful selection of pieces for me to wear in the video from Paris. After having put all the work in the music and a lot of money and time in the video I realized: We cant release any of it without a permission. I had absolutely forgotten about this legal situation since Philip Glass is a living composer. Extremely stressed about that I reached out to his publisher and we had to wait for months and months until we got the relieving news. In the end they would not only allow for both video and rework to be released but also asked me if I could see myself releasing my rework on Glass’ label Orange Mountain Music, which was more than I could have ever dreamt of.

How has your involvement with luxury brands like Louis Vuitton and Dior impacted your career/creative process?

Actually all my brand collaborations came directly through the directors, who were friends of friends or who heard of me through someone. I think big brand names can in some circles maybe give you ‘credibility’ in terms of what professional level you are able to deliver and if you can work in sometimes difficult circumstances. Often there are agencies involved, which means a lot of people with all kinds of musical taste are giving opinions and having to navigate that to get to a final result that everyone is at least ‘ok’ with can be hard. I also have quite conflicting feelings about big brands when thinking about our current environmental crisis, let alone workers’ conditions, and myself mainly wearing vintage clothes.

You’ve been a mentor for programs like ‘Girls Who Listen’ and ‘Keychange’. What’s your top advice for people wanting to become music producers/singer-songwriters etc.

I think essentially making music is translating, channeling emotions. And the better you are able to navigate the tools - like voice, instruments, DAW - the better, more precise and more personal that translation will be. So for that I think its important to just aspire to get better and know as much as possible/needed for what you want to express. Ultimately it just saves you from having to beg producers, mixers for their spare time and empowers you to work as much as possible autonomously. It’s sometimes a lonely process for me as I do it almost all on my own but it also allows for the maximum freedom. There are amazing initiatives, such as yours, out there to connect and share knowledge in safe spaces.

AVR | Photo by Alex de Brabant

Who are some of your biggest artistic influences and how have they shaped your work?

I think the reason I wanted to become a professional musician and study piano was a concert of Herbie Hancock as a teen. The feeling I had there was like nothing I had ever felt, so ecstatic and so good. Pretty much at the same time I was deep into the song books of Joni Mitchell and Marvin Gaye whilst having weekly classical piano lessons aspiring for the chords of Ravel. In general I am drawn to musical risk takers who dont become avant-garde-only, but still manage to be understood and appreciated by larger audiences. Be it Stravinsky, Thelonious Monk, Tyler The Creator, M.I.A., Björk. I like combining musical elements that dont naturally live in the same world together as I am always looking for that new sound, for innovation, but also for romance. And the romance part can oftentimes be in a hopefully timeless melody or the lyrics for me.

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

My favorite thing is starting new drafts, that fresh and exciting energy. Or moments in the studio, when creating with other people when you just sit there and feel the exact same high about something. The hardest are the last 10% of editing when it gets so incredibly tedious. And then there is the reality of being a musician in the time of social media. My main platform is instagram for communication and, like for most people, it creates a lot of anxiety and stress for me. I was also never an artist longing to see my face everywhere, I would prefer to let my music speak.

What's the weirdest inspiration you've drawn for a song?

It’s not really weird at all, but my favorite fine artist is Jenny Holzer who works with language a lot, which speaks to me deeply. My song SKIN uses her words/verses entirely.

3 things you can't live without in your bag

Its 2 for me: Heaphones & lip balm :)

** Interview by ninakeh for shesaid.so

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

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

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

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

Dr Charisse Oyediwura, BLiM

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

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

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

Sania Haq, Founder, Bye to Stereotypes 

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

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

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

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

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

What prompted BLiM to initiate the “YourSafetyYourSay” survey?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Artist Spotlight: Cosha

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Born in Indiana and raised in Ireland, Cosha grew up surrounded by music. Her father was a drummer, her mother a singer, and her older brother introduced her to the UK's underground scenes. “I liked performing from a really young age,” Cosha recalls. She began writing music at nine, encouraged by her godmother. Cosha honed her songwriting skills, touring Dublin's pubs as a teen before moving to London, where she immersed herself in electronic and dance music.

Cosha is no stranger to the music industry. The singer-songwriter-producer has toured the world playing festivals from Coachella to Primavera to Glastonbury, collaborated with the likes of Shygirl, Coby Sey and Koreless and lent her pop pen to artists such as Charli XCX and Mura Masa, as well as releasing her critically-acclaimed debut solo record Mt. Pleasant in 2021, produced with Rostam Batmangalij (Solange, Frank Ocean) and Emile Haynie (SZA, Lana Del Rey, FKA Twigs).

In the worlds of fashion and art, she’s soundtracked two Sinead O'Dwyer shows at London Fashion Week, and been synced by Dior and Victoria’s Secret. She’s had featured write ups in the likes of Vogue, i-D, Interlope Magazine, The Guardian, Billboard, Dazed, Crack, Schön and The Sunday Times, while also collecting co-signs from Bjork, Arca, Clairo and Mary Anne Hobbs. “Cosha paints a picture characterised as much by unflinching vulnerability as by soulful optimism, with the rawness of the emotional insights it provides accentuated by the potent frankness of her voice” - i-D 

Her new EP, MurMurs, explores grief and renewal, with tracks like ‘Fire Me Up’ and ‘Sun Back’ capturing her emotional journey and blending vulnerability with optimism. Throughout the project, nature imagery grounds the listener, offering a therapeutic experience. “I like making music to put a call out into the world,” says Cosha, hoping her work can be a source of comfort and connection for others.

Can you tell us more about the inspiration behind your latest project "MurMurs"?

So "MurMurs" was kind of like my little chrysalis moment where I was in my shell trying to work through a shift in atmosphere, to mould into the new person that would be and eventually come out of that shell as a butterfly, which is where I am right now.

When I was making MurMurs, I was very much in that cocoon, trying to work through a lot of big changes. For anyone who's going through some big changes, or just in general, maybe life is a bit tricky, and you need some motivation, these songs may resonate with you. This was me trying to motivate myself and realize how beautiful life can be and spread that message.

Were there any memorable moments during the recording process?

I started the beat for Fire Me Up on the plane from London to LA, I had to just left my partner and the home we built together & I was subletting from a friend while I worked things out. I went to Joshua tree with two friends/ producers to make some music. We started looking at Fire Me Up, but the breakup was still so raw & I kept choking up trying to sing the lyrics (eventually I got a full take out & that’s the one on the record) - but the boys were so tender & caring with me, they consoled me and supported me through the day and then make us all a bbq :)

In recent years, you've undergone significant personal and artistic transformations, including leaving behind your major record label and management. How have these changes influenced your approach to creating music?

It really meant that for the first time since I started making music, I had absolutely no safety net. Absolutely no team. It was just me. I've done this whole project self managed, self funded, self promoted, did all the creative direction etc which was very scary when I first was looking at it, trying to figure out how I would get it done. But now that I'm at the other side of it, I'm really proud of what I made. It's been really important for me to see the boundlessness of my tenacity, to see how I can show up for myself. It's really important for me now even just in my career, but as a person growing in life. It's been nice to know that anything is possible. You can get through anything. They'll always be light at the end of the tunnel.

Could you tell us about your approach to songwriting?

I like making music while I’m travelling, on planes or trains ect. I like that there’s no Wi-Fi distraction & there’s an end point. I usually start ideas on GarageBand then transfer them into ableton. Making beats on my phone in GarageBand just feels like a game and is more fun for me, I want making music to stay fun even though it’s my job.

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

Least favourite- Mixing. I worked with fantastic mix engineers who made the process as good as it could be but it just kills the music for me a little having to listen to it with a mix ear in mind.

Favourite- getting into that unconscious free space where things just flow out of you uninterrupted, like you almost black out for a moment and go somewhere else, it’s so relaxing & satisfying when you can get there.

Describe your morning routine

I do a 10 minute gratitude meditation, a 5 minute stretch with a hot water and lemon. Then I cycle to the gym, workout, quick sauna, a cold shower & sing in the shower.

Your top advice for young people wanting to become singer-songwriters.

Stay silly when you’re writing - try not to think about wether something is good or not, save the nit picking for later down the line & just enjoy the expression. If you’re releasing your own music - your opinion is the most important one, if you love it & your excited by it, then that’s all the matters!

3 artists you’re listening to right now 

Cartola. Björk. Cindy Lee

  • Interview by ninakeh for shesaid.so

Member Spotlight: Stef Pascual

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

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

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

How did you get your start in music? 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tips for anyone who wants to get into your industry

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

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

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

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


Tips for staying grounded on a tough day

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

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

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

Connect with Stef Pascual on Instagram & LinkedIn

Music Insider: Sarah McBriar

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Sarah McBriar | Photo Credit: Sarah Ellis (TellYourMumITookPhotos)

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

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

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

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

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

How did you get your start in music?

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

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

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

Sarah McBriar | Photo Credit: Sarah Ellis (TellYourMumITookPhotos)

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

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

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

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

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

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

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

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

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

Surviving licensing challenges.

Growing an incredible team, and watching them develop.

Reaching ten years of AVA.

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

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

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

One piece of advice you'd give your younger self

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

Tips for anyone who wants to get into your industry

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

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

Up Next: Jay Kent

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Hailing from Angeles, Philippines, 22-year-old Jay Kent is unapologetically queer and occupies the intersection of R&B and pop.

Alongside EP Entertainment, she’s developing her eclectic debut project with the likes of AyoTheProducer (Cardi B/Lil Wayne), Imani (City Girls/Quavo), ClickNPress  Alessia Cara/Dreamville), and Soko7 (Beyoncé), amongst others. Her unique tone has helped her garner over 130k followers and 1.2 million likes on TikTok.

Jay’s single “Texting” was released earlier this year and it’s an homage to the ever-opaque sapphic situationship. “Texting” finds Jay caught in a chronically online romance complicated by broken-down communication, yet oozing with irresistible sensuality. 

What's the story behind your single "Texting"? 

"'Texting' is a story about a relationship that avoids confrontation, people nowadays do everything online. They text and FaceTime. I can’t count how many times I’ve seen relationships start and end that way. This song was to talk about how people shouldn’t be afraid to talk in person."

What was a moment you loved while working on your debut project? 

Working on my music with so many talented and incredible people is definitely the “stand out” for me. I love being able to learn new things and absorb knowledge about something I love to do. Being surrounded by people with such good energy and good vibes."

What challenges have you faced as a young artist in the industry, and how have you overcome them? 

I can’t count how many times I’ve been put down for the way I look and my sexuality. I’ve been told that the norm is the only way to go and I guess embracing who you are is the only way to overcome all that. I’ve learned that we should stop caring about what people think, it’s either they like you or they don’t. It’s better to keep the people that matter the most and continue doing what you love to do without caring about what people say about you.

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

It’s very difficult for me to have a favorite thing about music when I enjoy every bit of it. The process of making it, the end of the track when you finally get to hear the result, the reactions people make when they hear it. That’s the joy for me. I guess if I were to have a least favorite thing, maybe the lack of sleep? Haha. That’s on me though.

What is your top networking tip for connecting with the right people in music e.g. a manager or a record label? 

I don’t actually know the answer to this one, I never really looked for them. I just keep uploading content and try to make videos that I think people would enjoy. Something light and easy but different. I was incredibly lucky to have been found by EP Entertainment and I’ll forever be grateful to them. They’ve really opened a lot of doors for me when it comes to music.

How do you use social media to connect with your audience/share your music? 

For me, social media is just a fun way to express yourself. You have total control over what you do and I guess at the end of the day, you attract people that love what you do. I’m not really good at the whole marketing perspective on that. I just be me and hope for the best."

If you could collaborate with any artist who would it be and why? 

I would love to do a song with Beyonce. That’s if I don’t get rushed to the ER just being near her presence. I’m in love with her. Absolutely in love.

What's the most unexpected source of inspiration you've drawn from for your music? 

I get inspired at the most random times, like I noticed most of them is when I’m in the shower. Haha, though my emotions play a big part. Especially when I’m in love or when I’m sad. That’s when I end up pouring my heart out the most."

Connect with Jay Kent

TikTok & Instagram

Up Next: Britney Manson

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Photo Credit: Milena Zara

Multi-talented artist, model, influencer, and provocateur, Britney Manson began her music career in 2021 with the release of several singles, including collaborations with Bill Kaulitz (Tokio Hotel) and Tubegirl.

As a trans model and influencer, Britney earned opportunities on prestigious runways, including Paris and Berlin Fashion Week, and campaigns with Italian fashion houses Valentino and Etro. Britney has a rapidly growing fanbase boasting 2.5M followers on TikTok and over 4M monthly Spotify listeners.

Britney Manson, has released her latest single ‘American Dream,’ which will be accompanied by her first-ever music video (out April 19). The single follows her viral hit ‘FASHION,’ which to date has garnered over 120M streams globally.

Drawing from her own experiences and aspirations, ‘American Dream’ channels the relentless pursuit of success. Reflecting on her journey, Britney explained: “I want to be the most mainstream from the underground artists and most underground from the mainstream ones, that’s Britney fucking Manson!”

What’s the story behind your latest single ‘American Dream’?

This song is all about the dreams of being successful! It’s all about being unstoppable, “do or die” when it comes to your goals. I wanted to create the whole song as if it was a crazy insomnia, telling you “hold me…what you are waiting for? You can get me, but you need to work so hard! I am your dream!

‘American Dream’ nods to the sounds of the late 2000s and early 2010s. Aside from Britney Spears's 'Blackout' album what are 3 things that inspire you from that era?

At first, the one and only, Tokio Hotel- Humanoid album. It’s so underrated, but it’s one of my top-3 albums so far, even the best one. Up next is “Born This Way” album by Lady Gaga, it has a crazy influence on me as an artist. Kazaky, Far East Movement, Robyn, Will.i.am, Nicola Formichetti, Gareth Pugh…there’s a lot of inspiration! Early 2010s are so underrated, so lemme bring it back xx 

You’ve walked prestigious runways and worked with top fashion houses. How does your experience in the fashion world influence your approach to music and performance?

I’m addicted to the fashion industry since I can remember myself. I mean it’s not only about the clothes- it’s a different world, and you can be whatever you want, just create your own outfit and put some glitter on! I’d like to describe my music as a fashion core- I want to bring all the fashion energy into the music world. 

If you were to send a message to new fans to know you and your music better, what would that message be?

At first- thank you for listening, and welcome to my world! And Up next-Please read my lyrics, they’re so meaningful! Read every single word, it’s there for a reason.

A moment in your career that had the most impact on your work.

The morning when I was reached by Billboard and had a Vogue article. I’ll never forget this day.

What is your most valuable piece of advice for new artists?


 Stay on your side. Do what YOU want, the time will come!

3 women who inspire you

Lady Gaga, Britney Spears, Natasha Poly

What would a dream music collaboration be?

Lady Gaga and Tokio Hotel. 

3 things you can't live without in your bag

My lipgloss, cigarettes and AirPods 

What's one genre or style of music you haven't explored yet but would love to experiment with in the future?

Unpopular fact, but I’m listening to rock music during my whole life! Green Day, Linkin Park, Blind Channel, Evanescence, Quantic…it’s so unexpected, ikr :) not sure I’d like to switch my genre to rock only, but I’d love to try at least once!

Listen to American Dream

Britney Manson in social media: TikTok & Instagram

Website: https://britneymanson.com

Music Insider: Linda Walker

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tips on finding your first music job?

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

Tips for anyone who wants to get into your industry

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

Connect with Linda Walker

Artist Spotlight: Salle

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Nigerian artist Salle has amassed a growing fan base with her debut track "Icon," which gained viral attention on TikTok and Spotify. Following the success of the song, Salle released her second single, 'Countdown.'

Produced by Monro and mixed by JAE5, 'Countdown' serves as a preview of Salle's upcoming debut EP. The song is a reflective exploration of impermanence and the significance of embracing the present. Salle's vocals dazzle on this track, cementing her status as an emerging talent worth keeping an eye on.

How did your viral street performance in Lagos influence your decision to pursue music professionally?

It made me grow passionate about music as I’ve neglected and never believed in my talent, after the video went viral I Dre so much strength from everyone who supported me and believed in me.

What 1 valuable lesson have you learned as an emerging artist?

One valuable lesson I’ve learned as an artist is not to acknowledge any kind of pressure whatsoever. It’s me versus me and I’m doing my best to be the best version of myself.

What is your top advice for new music artists 

Be yourself, acknowledge every feeling and every experience you may meet positive or negative and in all improve your craft it’s the only thing that makes us artists.

If you could collaborate with any artist, who would it be and why?

I’d love to collaborate with lots of amazing artist but since I have to pick one off my list it’ll be “Rema” because of his mysterious tune that I enjoy.

Can you share a favorite moment from your journey in the music industry so far?

A favorite moment from my journey in the music industry so far will be the when I put out “ICON” it was the most liberating and remarkable so far.

What are your goals for the future as you continue to pursue your music career?

My goal for the future is to keep improving in my sound and in all aspect of my life.

3 things I can’t live without in my bag

Sunglasses, perfume and cash.

Artist Spotlight: Kelly Moran

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Kelly Moran, shot by Brandon Bowen

New York-based composer and producer Kelly Moran has spent the past decade challenging traditional piano conventions with an experimental approach.

Moran has collaborated with artists such as Oneohtrix Point Never and FKA Twigs, composing for classical musician Margaret Leng Tan and working with contemporaries like Kelsey Lu and Yves Tumor. Her solo albums, "Bloodroot" and "Ultraviolet," have explored extended piano techniques and received critical acclaim across various genres.

Her upcoming album, "Moves in the Field," moves away from prepared piano techniques and instead focuses on a more experimental use of the instrument, similar to her previous work on "Ultraviolet."

The inspiration for "Moves in the Field" originated from Moran's experience composing a piano duet with Missy Mazzoli in early 2020. During this collaboration, Yamaha Music loaned her a Disklavier—a state-of-the-art player piano, capable of surpassing human capabilities in composition.

During the pandemic, Moran began composing with the Disklavier as her duet partner in isolation. The duets between Moran and the Yamaha Disklavier embody her pursuit of both technical precision and emotional resonance, creating an interplay between human performance and the Disklavier's automation, resulting in multi-layered compositions.

Influenced by both classical minimalism and contemporary electronic music, "Moves in the Field" serves as a bridge between two distinct musical worlds. Mixed and recorded by Dan Bora (known for his collaborations with Philip Glass), and mastered by Joshua Eustis of Telefon Tel Aviv, the album exemplifies Moran's bold artistic vision and technical prowess.

"Moves in the Field" marks a departure from Moran's previous works, positioning her in a compositional league of her own. The album explores themes of humanity versus technology and the interplay between technicality and musicality. Released under Warp Records, it firmly establishes Kelly Moran as a leading figure in modern music.

What sparked your transition from prepared piano to the Disklavier piano, and how did it inspire the new direction for "Moves in the Field"?

My last record was music for prepared piano and electronics that was based heavily in improvisation. When I set out to make a new record, I intended to make another album exploring prepared piano, but this time with more repetitive song structures and loop-based grooves to evolve the rhythmic feel of the previous record. All the music from Ultraviolet was so loose and unmetered, and I wanted to create music people could dance to. But unfortunately after I began writing the record in this direction, I became bored and uninspired by the prepared piano because the pandemic hit. I needed fresh inspiration to feel motivated, and working with the familiar sound of the prepared piano wasn’t doing it for me.

Around this time, Yamaha loaned me a disklavier player piano, and it provided a new way for me to compose and interact with the piano. I suddenly had a flood of new ideas that I wanted to explore, and it was then when I decided to abandon the prepared piano music and head in a fresh direction. 

The album title draws a connection to skating rudiments. How does this thematic element tie into the music and what role did the Disklavier play in bringing these movements to life?

I started figure skating as a hobby a few years ago, and all skaters learn basic patterns to master control over your blade edge. These patterns are called Moves in the Field, as the ice rink is often referred to as the field. You’re supposed to practice small simple patterns so you can build up your skills to achieve more intricate, difficult moves. I saw a lot of parallels in the process of learning to skate and learning how to play music - moves in the field are like scales and arpeggios for musicians.

When I started working with the disklavier, I would often record a simple pattern and then complicate it by adding layers, so it reminded me a lot of the practice of building up skating skills so you can skate more difficult elements.

How did you use the Disklavier in these compositions?

A Disklavier is a player piano that allows you to record your performance and have the piano play it back with expressive and dynamic accuracy. It uses an advanced system of MIDI to translate the touch of a pianist to MIDI information and have the playback sound identical to the performance that was played into it.

One of my favorite aspects of working with this piano is being able to listen to my music being played on the piano from the listener’s perspective. As a pianist, I can be very emotional and get swept up in the music I’m playing because it feels so good physically. But this doesn’t always sound the best from the listener’s perspective - some songs need more sensitivity and control, and I wouldn’t realize this if I weren’t able to listen back to my playing the way the disklavier plays back my performances. 

Did you encounter any challenges or revelations during the compositional process?

When working with a player piano, it’s very tempting to want to over-correct in the editing process. You have the ability to record a take and then delete all your wrong notes, or correct your dynamics. But the more you edit your playing, the less human it sounds, and I had to find a middle ground between perfection and expression.

Moves in the Field seems to bridge classical minimalism with modernized and synthesized textures found in electronic music. How did you balance these influences?

I like to write a lot of dancey patterns that might be found in techno or other dance music - I was working a lot with my synth arpeggiator on early versions of the music. It was fun sending these MIDI patterns to an acoustic piano because it’s the kind of music I would never physically play on the piano, but still sounds very satisfying to listen to. I used a sub bass as the only non-piano sound on the album just to add a bit of weight to the low end because I wanted to keep the focus on the purity of the acoustic piano sound.

The album is mixed and recorded by Dan Bora, known as Philip Glass' sound engineer. How did this collaboration impact the overall sound of Moves in the Field?

Philip Glass has been a huge inspiration for me as a composer and his music always sounds incredible. Because this record is more reliant on the acoustic piano sound and less on electronic elements (than a low of my past works) I wanted to try to work with an engineer who was very experienced in mixing classical music. Dan was extremely thorough and mathematical in his mixing, which is very different from my approach, but I learned so much from him about all the little ways you can make a piano sound better on a recording!

Kelly Moran, shot by Brandon Bowen

Does this album mark a departure from your previous works, defining a new sound? 

It doesn’t feel like a total departure to me, honestly. I’ve made a lot of records and most of them exist in their own unique sound world. This record felt like going back to my roots as a pianist, because piano was the first instrument I ever learned and so much of my experience as a composer has been about combining the piano with other sounds, or manipulating its sound in some way. I tried to restrain myself in some way by working only with the acoustic, natural sound of the piano as the main basis for the pieces, instead of relying on electronic or synthesized sounds.

As a musician, do you draw inspiration from other genres?

I listen to a lot of music, and most of it is not in the vein of music I write. I think I get most of my inspiration from artists who make music completely different to what I make. 

How do you tap into your creativity on particularly tough days?

Get out of your house, get your body moving. I like going on runs to clear my head and reset my energy. Make contact with a friend if you’ve been home alone all day. Even though I make most of my music alone, I don’t recommend letting yourself get too isolated from the world. It’s important to connect with other people and find purpose outside of your own creative practice.

What’s your top advice for artists who want to enter this industry?

In order to pursue music for a living, it has to be your main passion. I never allowed myself to entertain the possibility of doing anything but music for a living because I knew I would be miserable. You have to be in it for the right reasons.


  • Interview by ninakeh for shesaid.so

Moves in the Field is out now on Warp Records

Up Next: ANANYA

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Ananya’s Photo by Sophia French

Ananya, the Zimbabwean-born rising singer/songwriter based in London, is a multi-talented artist excelling in music. Her latest single, "Macy Gray," pays homage to the legendary artist and is part of her debut EP, "I Woke Up One Night." With over half a million streams, the EP features hit tracks like "Bad for You" and "Gone (Forever)," showcasing Ananya's emotive vocals and reflective songwriting.

Beyond music, Ananya co-founded The Nani Wellness Project to raise awareness about mental health issues in Zimbabwe. This showcases Ananya as a notable presence in the global music scene, combining her musical talent with a commitment to creative expression and mental health advocacy.

If you had to pick one song from your new EP to introduce someone to your music, which one would it be and why?

I think it’d have to be ‘macy gray’. I’m often back and forth when it comes to my favorite song from ‘i woke up one night’, but I tend to lean towards the more vulnerable, melancholic tracks. I think that ‘macy gray’ really encompasses a common feeling and tackles the concept that although tough, remembering the truth, rather than only the good, is vital in moving on. 

What's the weirdest inspiration you've drawn for a song?

Throughout this EP, being inspired by my dreams was a new point. It’s something that hadn’t ever happened to me, but I welcomed it with open arms when it came. It started with ‘bad for you’ when I woke up from a nightmare; I dreamed about disloyalty, which turned out to be very much true. It’s my weirdest inspiration - I still have a hard time explaining to people that I discovered the truth from a dream.

What advice would you give to young people wanting to become music producers/singer-songwriters etc

I’m still figuring this out but I try to create what feels most authentic to me, and work that I’m excited and passionate about.

Name one artist or genre that has influenced you/your music

I’m a massive Swiftie.. Taylor Swift has influenced both me and my music. She not only taught me songwriting but also the importance of filling songs with wit and power. Her role as a woman in music is inspiring, and I admire her full dedication to everything she pursues.

How do you overcome creative blocks? 

I’m still learning about overcoming creative blocks, but something that has been working for me lately is journaling and meditation. I have this superstition that if I stop focusing on overcoming my creative block, inspiration comes to me. 

What's one thing you hope your fans take away from listening to your debut EP?

I hope that anyone listening feels that they have something to relate to, and something to act as a companion to in life’s very real scenarios.

Connect with Ananya

Instagram & YouTube