Lois Hayes began her career as a music marketing strategist, spending over a decade working on global campaigns for labels like Ninja Tune, !K7 Records, Partisan, and Decca and for artists like Bonobo, Laura Marling, Peggy Gou, Phoebe Bridgers plus many more.
Today, she works as a freelance consultant and nervous system coach, supporting artists and label teams at the intersection of creative strategy and trauma-informed care.
With a background as a classically trained musician and writer, Lois now merges creative strategy with science-based trauma therapy techniques—including Somatic Experiencing—to help artists and teams manage burnout, overwhelm, and creative blocks, while also co-creating emotionally resonant digital release campaigns.
In this Q&A, she reflects on her career evolution, what makes a campaign truly land, and why sometimes the most strategic thing you can do—is slow down.
You began in music marketing and now also support artists and teams with nervous system work — how did that shift come about, and how do the two areas connect for you?
I’ve had a non-linear path, shaped in part by early experiences in high-pressure, hierarchical work environments. As a young female executive in leadership, I found myself navigating dynamics that felt disempowering and destabilizing. At the time, I didn’t yet have the tools or language to fully name what was happening but it eroded my confidence, made me doubt my instincts and stayed with me long after. That experience ultimately became a catalyst for the work I now do in nervous system support.
I realized that so many of the challenges I witnessed in creative industries were governed by nervous system responses. Burnout, self-doubt, perfectionism, creative blocks - these are often signs of deeper survival patterns playing out under pressure. This led me to begin a three year training in trauma resolution through Somatic Experiencing. I wanted to understand the nervous system as a foundation for how we relate, create and lead. The shift from music marketing into somatic therapy felt organic, they’re deeply connected. At its core, marketing is about communication and resonance. Now, I support artists and teams with both: the strategy to amplify their message and the nervous system capacity to sustain it.
What advice would you give to someone who's great at strategy and campaigns but struggling with creative burnout themselves?
In Somatic Experiencing, if we burnt out we are in a functional freeze pattern and pushing through with caffeine and self-flagellation will only push you further into burn out. What is needed is space and to do LESS. This takes time, patience and acceptance. Take the time off, allow the body to reset and come back with authentic motivation.
Looking back, what’s one campaign you’re especially proud of — and what made it work so well?
One campaign I’m especially proud of is the David August - VĪS album release in 2023, which was one of the final projects I led during my time at !K7 Music. It was a deeply collaborative process that allowed me to really lean into both the strategic and creative sides of my work. What made it so rewarding was the level of trust and alignment between us. David had a clear artistic vision and I was able to bring that to life through a campaign that felt intentional, emotionally resonant and visually refined. He later shared that I brought "valuable insights and artistic sensitivity" to the campaign and that I had a unique ability to understand and amplify his vision. That kind of feedback meant so much to me, my biggest priority is always making sure the artist feels truly seen and supported throughout the campaign process.
What do you think makes a music campaign truly cut through today, especially in a crowded digital landscape?
In my work, what is most important is finding ways to merge strategic clarity with artistic sensitivity in a way that feels novel and viscerally compelling - as much as the music itself. I deeply listen to the artist’s or brand’s vision and translate creative concepts into campaigns that resonate emotionally. Marketeers need to have a deep understanding of storytelling, aesthetics and audience psychology - and have an innate trust in giving up the rulebook sometimes and work intuitively. I believe nervous system work is essential to facilitate this kind of expansive approach and expression.
As someone who now works freelance — how did you know it was time to step away from in-house roles?
It was a slow, steady recognition that the structures I was working within weren’t aligned with the way I wanted to live, create, or grow. Freelance life definitely comes with its own challenges: financial instability, loss of institutional support and the weight of being a solo entrepreneur, but it has allowed me to actively shape work that feels regenerative and future-facing for myself and the people I work with as a service provider, disruptor and thinker.
For someone wanting to get into music marketing today, what skills are essential that maybe weren’t 5 or 10 years ago?
I think engaging with AI tools is especially relevant right now, they’re reshaping how we ideate, create and communicate in the marketing space. But beyond that, having a wide frame of reference is essential. Don’t limit yourself to just studying music campaigns, immerse yourself in art, literature, film, subcultures. The more expansive your inputs, the more thoughtful and resonant your work will become. Also, having some foundational design or copywriting skills can take you a long way, it allows you to be more agile and self-sufficient, especially in fast-paced or lean team environments. And finally, don’t underestimate the importance of rest.
Tips for anyone who wants to get into your industry.
My biggest tip for anyone looking to get into the industry is to make sure the work itself is truly a fit for you. It’s easy to get caught up in the allure of working in music, but it’s crucial to understand the specific role you’re stepping into. I've seen too many people burn out or become disengaged in positions that weren’t aligned with their strengths or passions, and experienced this myself in ways. Take the time to really evaluate the work and ensure it’s something you’re genuinely excited about.
