music industry

Anne-Flore Levacher: Behind the Scenes of Artist Development and Project Management at Roche Musique

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Anne-Flore is an experienced project manager with seven years in the music industry, specializing in French electronic music. Her passion for music began in childhood, inspired by the French Touch pioneers at Ed Banger Records, with artists like Justice, Sebastian, and Breakbot shaping her early musical taste. Raised by parents who loved soul and jazz, especially Motown, she took up guitar and voice lessons, building the foundation for her future career. 

Originally from a small village in southern France, Anne-Flore moved to Paris to pursue her goal of working in music. Following an internship at the "Plages Électroniques" festival in Cannes, she joined Roche Musique in 2017, during a period of growth driven by Lo-fi and chill artists like FKJ and Dabeull. Anne-Flore quickly became a key team member, known for her dedication and strong relationships with artists and colleagues alike. 

Her career gained an international dimension after a two-year stay in Mexico, where she expanded her network and developed a particular interest in niche hybrid genres, especially within Latin and Hispanic music scenes.

Describe a day in your life working as a Head of Projects at Roche Musique

Each day is different, which is what I love most about my job. My mornings typically start with checking emails, and the afternoons are often filled with meetings.

I begin by reviewing performance data and stats, analyzing trends, playlist engagement, and marketing campaign outcomes. I stay in regular contact with key partners to discuss recent releases and plan upcoming ones—including Believe for digital distribution, Bigwax for physical distribution, Base for marketing campaigns, along with managers and PR teams.

A key part of my role involves approving mixes, masters, and tracklists, setting up digital and street rollouts, and collaborating closely with artists on artistic direction to identify the best visual partners for each release (for music videos, artwork, press shots, etc.). My role centers on coordinating all project aspects, ensuring smooth communication among everyone involved—management, legal, A&R, distribution, DSPs, community managers, and, ultimately, our fans.

I spend at least an hour a day listening to new releases, checking playlists, and reading industry news to stay current. And every Friday, I share my favorite releases with friends and colleagues on Instagram.

How is the French electronic music scene today?

French electronic music had a defining moment in the early 2010s with labels like Ed Banger, Roche Musique, Partyfine, Kitsuné, Electroposé, and YouTube channels like TheSoundYouNeed and MajesticCasual.

In 2024, however, it's harder to isolate “French electronic music” as a distinct genre, as many recent releases are heavily influenced by the UK scene (D&B, UKG, Jersey) and other rising “mainstream” styles such as Amapiano, Batida, and Baile Funk.

That said, French electronic music—especially the “French Touch”—remains a cherished cultural legacy. A recent example is Kavinsky’s "Nightcall" featuring Angèle, which received renewed attention after being featured in the Olympics closing ceremony. I believe Gen Alpha will continue to shape this genre in the coming years, blending the heritage of French electronic music with fresh, hybrid styles.

At Roche Musique, what’s your biggest focus when it comes to artist growth?

For the past 12 years, our main priority has been building long-lasting careers for our artists. We’re dedicated to taking our time to communicate, collaborate, and make informed decisions to deliver our best work. Building a loyal fanbase is a long game but essential to our approach, which is why we invest in understanding our audience as closely as possible to offer them an authentic musical experience. We also place a strong emphasis on visual artistic direction—something I believe is a key strength of ours.

What trends in electronic music are you watching closely right now?

I’m particularly interested in the emergence of hybrid genres that blend electronic music with diverse influences—like jazz-fusion, electronica-flamenco, Spanish synth-pop, French DnB, and float house. I’m always on the lookout for genres that bring groove into new, more upbeat tempos.

What project at Roche Musique (or anywhere else) are you most proud of?

The recent project I’m most proud of is Dabeull's debut album, Analog Love. This project was a bold endeavor—a funk album recorded entirely on analog equipment, including Michael Jackson’s Harrison 32-C mixing console, released in 2024. Despite the digital-heavy landscape of today’s music industry, we managed to resonate with the fanbase through minimal yet impactful marketing, all in line with the artist’s reserved style (including a billboard on Sunset Boulevard in LA). And, on a fun note, it’s easily the grooviest, most danceable album we’ve released!

For those looking to pursue a career in your field, what advice would you offer? Are there specific skills, tools, or mindsets that are crucial for success in this field?

There’s no single formula for building a career at a label, but one quality I find essential is curiosity. Curiosity is critical in this industry, where so much depends on staying fresh and discovering new artists, instruments, marketing strategies, digital tools, and even legal nuances. Especially in an independent label, we don’t have a fixed playbook, so we tailor campaigns and strategies to each artist and project. I’m a “jack of all trades” when it comes to music, and my habit of digging for new sounds—particularly through SoundCloud—was instrumental in landing my current role.

Three essential things you always carry with you in your bag

Headphones, chakra stones (heliolite, carnelian, clear quartz), and a sudoku puzzle book.

What are you listening to at the moment?

Lately, I’ve been listening to emerging Spanish artists like Judeline, Ralphie Choo, Mori, Tristan, and Amaia, as well as the latest albums from Doechii and _by.Alexander.

Connect with Anne-Flore Levacher on Instagram & LinkedIn

Friedberg's Hardcore Workout Queen

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Friedberg - Photo Credit: Lewis Vorn

Friedberg is an all-female four-piece bringing a hypnotic mix of dance-punk, indie, and guitar pop to every show.

They’ve been gaining momentum and even caught the eye of AnnenMayKantereit, who invited them to support their German stadium tour last summer. Recently, Friedberg wrapped up a U.S. tour with Giant Rooks after a strong showing at SXSW.

In May, they played the Jazz Café in London, opening for Big Special, and later that summer, they joined Placebo on their UK tour. This added to an impressive list of shows, which includes past tours with Hot Chip in both the UK - the band played a headline show at London’s iconic 100 Club on November 4 - and the U.S.

Their latest singles, released through Clouds Hill, are gaining attention and airplay on BBC 6 Music, Radio 1, and Radio X. Their upcoming album ‘Hardcore Workout Queen’ produced by Oli Bayston, is set to be released on November 8.

In this Q&A, the singer-songwriter and frontwoman for Friedberg Anna Wappel speaks about their album Hardcore Workout Queen, their creative process, and what’s next.

Your album Hardcore Workout Queen has such an intriguing title, what’s the story behind it?

Hardcore Workout Queen is a song on the album that I wrote in a really lazy mood, when I woke up one morning and everyone was running past my house for the third time while I was busy making my third breakfast. I was cheering for all the hardcore workout Queens, but I just couldn't participate. It's kind of a funny look on the whole self optimization obsession, but also in a loving way. It's a song for everyone, no matter if you're on the gym or if you're late in the sofa at home.

If you had to choose one song from your album to introduce people to your music, which one would it be and why?

I think maybe ‘Hardcore Workout Queen’ because I like the lyrics and the drive it has got, but as I can never ever decide, I would also like everyone to listen to 100Times too, because it is such a vibe

How has touring with bands like Placebo and Hot Chip been?

Both were super fun. The U.S. tour with Hot Chip was truly unforgettable! I think a few more dance beats snuck into our album after touring with them. And I’ve also worked in the studio on some new tunes with them which was amazing. The downside: I’ve realised that being a support band on tour is insanely fun, but also ridiculously expensive. I really wish there were more grants for touring musicians.

You’ve built a lot of momentum since forming in 2019. What advice would you give to new artists trying to grow and find their place in the music industry?

Trusting your gut. Trusting your gut. Trusting your gut. Learn to delegate, so you’ll get more time to actually do music. (That’s mainly an advice for myself haha)

What’s your best networking tip? 

Be curious to meet people. Don’t be scared to ask a lot of questions.

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

The moment when you go to a studio with someone - with a producer, a friend or a bandmate - and you just go in there with nothing, completely blank, and you start to have a jam, and then write or make something up in the moment. It's super scary, but I like the thrill of it and I like to go home in the evening with something we’ve created. That’s my favorite thing.

My least favorite thing is finishing stuff. I find it really hard to make decisions, and the feeling of committing to a final thing, “this is it now, you can't do any more changes”… I love to have all the options, but then I also can't make decisions. So, I find finishing stuff really hard.

Friedberg - Photo Credit: Lewis Vorn

What’s your favorite way to unwind when you’re not making music?

Playing football. I started a football team in Hackney Wick, and we play once a week. It’s the only time I can truly switch off my brain—just chasing that stupid ball around!

If you had to describe your music using three words, what would they be?

Pop, dance, punk

What are you listening to at the moment?

Just discovered Joshua Idehen’s track “Mum Does the Washing“, when I was a guest at 6music’s Roundtable the other day. The lyrics are incredible and you’ve got to hear it. The music video is pretty amazing too.

we.grow at ADE: Mentorship Program presented by shesaid.so and ADE Lab

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We are excited to renew our partnership with ADE this year with activities that include the we.grow mentoring program supporting music industry professionals as part of ADE Lab 2024 on October 17, 2024.

we.grow at ADE is a mentorship program presented by ADE Lab and shesaid.so, a global music community of women, gender nonconforming people and allies of all genders whose aim is to create an equitable music industry for all through education, events, mentorship,  networking and job opportunities.

In 2024, the program will focus on supporting music industry professionals, featuring a total of 5 mentors and 5 mentees selected from the shesaid.so community.

Previous shesaid.so mentors came from companies such as Coachella Music Festival, Warner Music, Armada Music, Universal Music Group, YouTube Music, Meta, WME, CAA, Atlantic Records, M&C Saatchi Sport and Entertainment, Believe and more.

Mentee Sign-Up!

To sign up to the mentoring program as a mentee, click HERE.

Mentees can apply to take part until Sunday, September 29.

** Please note that to participate, you will need to be in Amsterdam during ADE Thursday (17th October).

** Application deadline is September 29 and mentees must have a Lab ticket in order to apply.

Open to all genders, with priority given to people from underrepresented communities and disadvantaged backgrounds.

we.grow at ADE - Mentors

  1. Connie Chow - Marketing Strategy Director - Dance/Electronic, FUGA

  2. Elisa Luengo - Music Programmer, Dekmantel

  3. Jessica Wilson - COO, Seven20 

  4. Phiona Okumu - Head of Sub-Saharan Music, Spotify 

  5. Sam Mobarek - Head of Major Recordings (Warner Records) & Founder of Mob Creative

Mentor/Mentee Commitment

  • Read through & apply the information from the mentoring guidelines we share with you prior to their engagement

  • Attend shesaid.so events if logistically possible

  • Spend at least 1h together throughout your ADE attendance and 1h after ADE (2h in total between October 17th and December 31st, 2024)

About we.grow @ ADE

shesaid.so has been working with ADE since 2017 with a focus on programming around diversity and inclusion in the music industry. 

In 2019 we took our partnership to the next level and introduced she.grows at ADE - a mini-mentoring program that paired 10 senior-level members from the shesaid.so community with mentees selected by ADE University. The scheme included an open call, mentor/mentee matching & training, workshops, networking and a DJ showcase

In 2022 we worked together with ADE to bring back the mentoring program, curate talks as part of ADE Pro, and introduce a shesaid.so space as part of the ADE Lab track powered by Zora and hosted at Lynk & Co’s flagship Amsterdam Club.

In 2023 the program focused on 4 areas of the music business, reflecting the tracks that attendees will be able to engage in as part of ADE Lab 2023:  Artists, Producers, Mixed Media and Music Professionals. The program featured a total of 20 mentors and 20 mentees, with 5 mentor-mentee pairs per each of the four Lab areas.


Our goal is to create an inclusive environment where our global community attending ADE can connect with one another and other industry professionals, in addition to learning.  

Highlighting the Opportunities Within South Asian Music

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

South Asian diaspora artists face a number of unique challenges:

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

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

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

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

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

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

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

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

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

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

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

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

BollyCo

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

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

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

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

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

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

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

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

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

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

Connect with Sania Haq

Bye To Stereotypes Website | LinkedIn | Instagram

Connect with Nileeka Bose

Bolly Co London Website | Instagram

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

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.

How to Find the Right Music Distributor

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Choosing the right distributor is crucial for your music. In this short guide, we'll explore key factors to consider when selecting a distributor that aligns with your needs and maximizes your potential for success in the music industry.

1- Choosing the Right Distributor

Your distributor is your gateway to numerous platforms and services, but not all distributors are the same. Whether you're a solo artist or part of a larger teamonsider factors like team size, personalized support, and seamless collaboration to ensure they meet your needs.

2- Broad Distribution Reach

Choose a distributor with preferred partner status at major DSPs like Apple Music, Spotify, Amazon Music, and YouTube. Verify they provide music at the highest standards and offer leading licensing terms across various digital music services.

3- Clarifying Objectives and Deal Structures

What kind of deal are you looking for? Whether it's starting your own label, seeking an artist direct deal, or launching a brand, clarify your objectives. Negotiate terms that align with your goals, whether it's exclusivity or a more open arrangement.

4- Efficient Content Management

Look for a music distributor with a comprehensive content management system that streamlines your digital supply chain. Ensure they offer real-time deliveries and complete control over your catalog and new releases.

5- Time Zones and Support

A distributor that offers round-the-clock support or aligns their operating hours with yours can significantly enhance your overall experience and streamline distribution operations.

Ensure that they align with your schedule to expedite communication and problem-solving. Assess their availability for customer support to ensure timely assistance with any challenges you encounter

6- Flexibility in Partnerships

A distributor that understands and supports your existing partnerships can contribute to the success and growth of your music across multiple platforms.

If maintaining direct deals with DSPs, consider a distributor's flexibility in accommodating existing partnerships while offering additional services to enhance your distribution efforts.

7- Audience Strategy Expertise

When evaluating a music distributor, consider their audience strategy capabilities. Look for a distributor that thinks like a fan, artist, creative, and marketer all at once. Assess whether their Audience Strategy team can collaborate with you to shape, nurture, and grow your artist's audience across all media and digital platforms.

8- Media Strategy

Seek for a distributor with a global network of press, radio, and TV partners to position your music effectively. Look for tailored publicity campaigns covering premieres, bios, translations, exclusives, interviews, and live performances. Ensure they plug into commercial and speciality stations for maximum exposure and impact.

This guide is based on a recent workshop on "Music Distribution Strategies" led by Connie Chow (FUGA), exclusively designed for shesaid.so members and allies.

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Music Insider: Moni Saldaña

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

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What advice would you give to your younger self?

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

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

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

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

Moni Saldaña’s work.

Building An Effective Music Release Timeline

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

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

1 - Outline the Pre-Release Phase

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

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

2 - Teasers and Countdowns

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

Here are some examples:

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

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

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

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

3 - Host a Listening Party

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

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

4 - Limited Merchandise Drops

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

Here are some examples:

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

  • QR-coded merchandise that unlocks exclusive digital content.

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

More Strategies to Keep In Mind

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

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

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

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

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

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

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

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

** Top Strategy Note**

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

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

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

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5 Key Trends For Independent Artists In 2024

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

1- Short Form Video Content

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

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

2 - AI & Data Analytics

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

3 - AI Integration in Music

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

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

4 - Social Media & Fan Engagement

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

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

5 - Alternative Monetization Strategies

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

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

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

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The Rise of Interpolation: Why Pop Music Is Embracing the Past

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The charts are currently flooded with dance-pop tracks boldly borrowing from 80s, 90s and 00s classics. Is this a creative fusion of nostalgia and innovation, or does it signal a lack of original ideas in the industry?

1 - Interpolation Overload

The charts are currently flooded with singles employing interpolation - the musical technique of incorporating elements from an existing song, such as lyrics or melodies, into a new composition.

Recent examples include FIFTY FIFTY’s “Barbie Dreams” (feat. Kaliii) which features an interpolation of Janet Jackson’s 1997 classic “Together Again” and Charlie XCX’s "Speed Drive" which contains an interpolation of Toni Basil’s 1981 song"Mickey". 

Interpolation isn’t a new practice but the tipping point came in 2023 when David Guetta and Bebe Rexha released "I'm Good (Blue)" in which they interpolated Eiffel 65's "Blue (Da Ba Dee)," reaching No 1 on the UK charts. 

In a recent interview, Jack Melhuish, former general manager of Parlophone Records UK, highlighted the impact of this particular release. This marked a significant moment in the trend's escalation, prompting more producers and artists to embrace it.

2 - Future Nostalgia

Unlike traditional rap music samples that often faithfully recreate vocal hooks or original song productions, tracks that embrace interpolation, create a musical déjà vu by reusing specific lyrics or melodic phrases from dance classics.

When asked about the trend, Radio 1 DJ Natalie O'Leary pointed out that as certain dance classics were cultural phenomena that shaped scenes of the time, they bridge generations.  We say, it’s a delicate balance between honoring the past and shaping the future.

3 - Interpolation & Catalog Acquisition

The rise in catalog acquisition also helps to explain how we’ve arrived at a moment when the pop charts are littered with chunks of old intellectual property. Nicki’s “Super Freaky Girl” and Yung Gravy’s “Betty” are just two high-profile examples. Latto skillfully incorporated elements from Tom Tom Club's "Genius of Love," a track famously sampled in Mariah Carey's "Fantasy," for her own song "Big Energy." To add an extra layer of excitement, Latto even collaborated with Mariah Carey herself.


In March of 2006, Primary Wave announced its first-ever acquisition: the catalog of Kurt Cobain, for which it shelled out $50 million. Since then, they have acquired the rights to music by Bob Marley, Smokey Robinson, Prince, Stevie Nicks, James Brown, and Whitney Houston. Music publishing companies such as Primary Wave, own the rights to some of the most crucial American popular music ever recorded. Instead of passively collecting royalty income alone, catalog owners and managers are now actively marketing catalogues to new generations.

4 - Gen Z Decoding Musical References

Peering into the current pop charts feels like investigating a complex mystery, each song potentially holding hidden references. The art of crate digging has taken a digital twist, with TikTokers and musicians/producers like LUXXURY highlighting musical interpolations in popular songs by artists such as Olivia Rodrigo, Doja Cat, and Ava Max, all of whom have achieved chart success through these creative reinterpretations.

Interpolation in songs has become a focal point of analysis and debate in the music community.

The prevalence of song interpolations has led to a trend where music enthusiasts and self-proclaimed theorists engage in side-by-side comparisons of alleged plagiarism instances.

For example, Lil Nas X's "That's What I Want" subtly references OutKast's "Hey Ya," sparking discussions among copyright lawyers and “TikTok detectives”.

Similarly, Harry Styles' "As It Was" unmistakably echoes a-ha's "Take On Me," prompting fans to create mash-ups and even leading platforms like Genius to label "Take On Me" as a "sample" on "As It Was," despite the lack of official credits in the liner notes. 

5 - The Artist's Perspective

If it was a hit once, it can be a hit again. Collaborations like Rita Ora's "Praising You,"feat. Fatboy Slim reimagine classics. Artists are on a creative spree, melding eras and genres. Artists and producers are seeing what works, and giving the market more of what it wants. 

Much like Hip Hop’s inventive sampling in the 90s, today's interpolations are transformative. The industry isn't running out of ideas; it's reinventing them. 

Music Insider: Halina Rice

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

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

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

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

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

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

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

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

How do you prepare for large scale events?

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

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

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

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

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

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

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

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

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

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

What advice would you give to emerging electronic artists?

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

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

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

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

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

What Emerging Musicians Can Learn from Katy Perry's $225 Million Music Rights Sale.

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Katy Perry's $225 million music rights sale to Litmus Music is a landmark moment in her career and showcases how strategic management of music rights can lead to substantial long-term revenue.

Perry's decision to sell her catalog while her music is still widely popular is a valuable lesson for emerging musicians. Understanding the worth of your musical assets is crucial for making informed financial decisions.

Other key takeaways from Perry's deal include the importance of building a strong digital presence, keeping an eye on industry trends, and partnering with established entities.

Perry's journey serves as inspiration for those aspiring to make their mark in the music industry. By following her lead, emerging musicians can position themselves for success and achieve their financial goals.

In this case study, we explore Perry's music rights sale in detail, highlighting the key factors that contributed to its success and the lessons that can be learned by emerging musicians

1 - A Legacy Artist's Calculated Move

Perry is a legacy artist still at the prime of her career, with an extensive catalog of music and hits like "I Kissed a Girl", "Firework" and "Roar”. These songs have become part of the cultural fabric and have an enduring appeal. They continue to be played on radio, featured in commercials, and performed at live events, showcasing their longevity.

*Critical Factor: Know Your Catalog's Value

Perry knew the value of her back catalog and sold her music rights when her songs were still widely popular, maximizing the financial returns from the deal.
Emerging musicians should take this as a lesson in catalog evaluation. Knowing the worth of your musical assets can be pivotal in making informed financial decisions. Remember: Timing is Crucial.

2 - The Spotify Influence 

Perry has 51.4M monthly listeners on Spotify signifies that her music continues to resonate with a wide audience. Her catalog is a goldmine for future streaming royalties. With millions of streaming monthly listeners, investors were willing to pay a premium for the assurance that Perry’s music will continue to generate substantial income.

*Critical Factor: Digital Presence Matters

Music rights are seen as investments and not just about immediate gains; they are securing a steady stream of income for years to come. Emerging artists should develop a strategic plan that includes building a strong presence on streaming platforms. However, always maintain a diversified portfolio and keep on top of other opportunities such as synchronization licensing, merchandising, and live performances beyond streaming revenue.

3 - Keeping an Eye on Industry Trends

Katy Perry Is Now Worth $340 Million—And is One Of The Richest Self-Made Women In America according to Forbes. By selling her music rights for a reported $225 million, the pop star saw her wealth take off like a firework.

Katy Perry's sale comes on the heels of other significant music rights transactions in 2023, such as Dr. Dre and Justin Bieber's deals. 

*Critical Factor:  Be Strategic with & Industry Trends

Emerging musicians should study and stay alert of industry trends. Understanding the broader market dynamics can help them make informed decisions about their music rights, publishing, and royalties. By staying on top of the market, they can make better decisions about significant financial moves to maximize their music’s value.

4 - Partnering for Success

Katy Perry's career is full with examples of how partnering with established entities and brands played a pivotal role in her success - from Americal Idol to Adidas. 

Partnering with well-known and reputable industry players lends credibility to an artist's career. It can signal to fans, peers, and potential business partners that the artist is serious and has the backing of experienced professionals.

*Critical Factor:  Partner with Established Entities

Aligning with reliable partners can contribute to a stable and enduring career. They offer resources, promotional muscle, and industry connections that can help artists reach a global audience. Emerging musicians should consider aligning themselves with reliable partners. However, it's essential to seek partnerships that also allow creative autonomy, ensuring that their unique artistic vision remains intact.

Katy Perry's $225 million music rights sale to Litmus Music is a milestone moment in her career and a testament to her strategic acumen. Her journey serves as inspiration for those aspiring to make their mark in the music industry. In conclusion, Katy Perry's catalog serves as an example of how smart management of music rights can lead to substantial long-term revenue.

Introducing the Music Publishing & Licensing 101 Mini-Course

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We're thrilled to announce the upcoming release of our “Music Publishing & Licensing” 101 Mini-Course, set to launch on the last week of September, open to members and allies.

Back in June, we reached out to our community – artists, producers, and industry professionals and asked: "What do you want to learn?" Your response was overwhelming, and we thank you for sharing your insights. We listened intently to your aspirations, challenges, and interests. And some clear music industry topics emerged from your feedback.

Among the highest-ranking responses were topics related to music publishing and licensing. Your thirst for knowledge in this domain was undeniable, and we heard you loud and clear.

Music Publishing & Licensing 101

This comprehensive online learning mini course is designed to equip you with the insights, strategies, and practical skills you need to navigate the intricate world of music publishing and licensing. The course is written from music industry experts involved in higher education and it’s endorsed by music publishers from our community.

Expert Insights

The mini-course will provide you with valuable insights and knowledge from experts who have experience and expertise in the same field or industry as you. They have faced similar challenges and opportunities in their careers, and their insights will be relevant and beneficial to your own journey.

Real-World Applications

Learn practical strategies that can be immediately applied to boost your career.

Holistic Approach

Understand both the essentials and advanced intricacies of music publishing and licensing.

Free to our Community

Get access to this free mini course by simply joining our community of music industry professionals and creatives whose mission is to make our industry equitable for all.

Calling All Industry Professionals:

We're also extending an open invitation to you, our community members, to contribute your knowledge. If you're a professional in the music publishing and licensing domain and are passionate about sharing your insights, we welcome you to get in touch with us at hello@shesaid.so.

Stay tuned for more exciting opportunities to be announced later in the year.

The Aces' Alisa Ramirez on Music, Identity, and Their Latest Album

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Indie-pop quartet The Aces released their highly-anticipated third studio album, I’ve Loved You For So Long, back in June. Spanning eleven tracks, the record sees the band reflect on their childhood and unpack how their early experiences with closeted love and religious trauma have influenced their relationships, mental health, and identity in the present.

Finding inspiration in the likes of The Cranberries and LCD Soundsystem, The Aces experimented with new styles while remaining authentic to their roots. The early singles caught the attention of tastemakers like KCRW, BBC Radio 1, and KROQ, to name a few, racking up over 12 million streams ahead of today’s release. The band is currently on a global tour supporting their album.

We are thrilled to have Alisa Ramirez from The Aces share invaluable advice and insights for industry newcomers

Hey, what's up, shesaid.so this is Alisa from the Aces, and I'm going to be answering some of your questions today.

What were some of the musical influences that inspired the sound of your latest record?

I'd say a big musical influence for this record was late 80s early 90s Shoegaze. And, kind of the end of New Wave as well as the beginning of Grunge. I feel that was a big thing for us. This record is largely about our teenage years and our youth and how experiences from our teenhood affect our adulthood. So it was very much about timing and kind of leaning into sounds that were really nostalgic to paint the pictures of the past and leaning into sounds that were really futuristic and really modern to paint the stories of our adulthood and our current moment. So I'd say timing and big eras of music - past and present - were really influential for the sound.

How do you overcome creative blocks?

I think having a creative block is really tough, but the best thing for me is just not trying to “beat it over the head”, you know? Just sitting at my studio desk, hoping something comes out. It's kind of a two-way street. If you're showing up to create something, and the Muses aren't showing up, then okay, it's not gonna happen. I think sometimes it just comes to you and it happens. But if you're going through a period where you just feel like you can't get it out or there's nothing inspiring, then I would just say take a break. Go live your life. Go read books, go to museums, explore, go out and meet new people. Just try to just live your life and find inspiration through everyday things and new experiences. That's what I always do. Seems to work.

What’s your top advice for young individuals wanting to become musicians?

I'd say just go for it. It's a lot of work practice. But if you love it, it won't feel like work. Just practice, practice, practice, build your audience, don't take no for an answer and just keep getting better at songwriting and keep getting better at whatever instrument you play. Keep chasing creativity, keep chasing inspiration.

Do you have any pre-show rituals?

Yeah, we do we always huddle up and do like a little mantra, kind of a prayer to the universe, kind of tap in and, and just, you know, ask to have a good show. None of us are very religious, but it's always a good feeling to kind of huddle up and combine our collective energy to put on the best performance we can.

If you could travel back in time to any musical era, which one would it be?

I would probably travel back to the 60s as it was a really exciting time. It was the first time that people were going electric. It was the first time people were talking about sex and mental health in a more forward way. It wasn't this kind of subliminal thing, it was more in your face. It just felt like the first time that music started to get really exciting and have a rebellious element to it, you know what I mean? And not just be kind of centred around like religion and social norms.

Okay, well, those are my answers. Have a good one!

The Aces Third Studio Album I’ve Loved You For So Long is out on Red Bull Records.

Stream The Album Here.

shesaid.so at All Access Fest Virtual

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We're excited to be part of All Access Fest Virtual on August 2nd with a virtual booth.

All Access Fest is a worldwide virtual music and live entertainment career fair that will provide unprecedented access to industry professionals, invaluable knowledge, and countless opportunities to accelerate your career journey.

This free music & live entertainment industry career fair inspires the next generation (ages 16-24) to follow their dream career through tools, resources, and hands-on learning from industry professionals panels, workshops, resume reviews, A&R feedback, and more.

Companies involved include Netflix, YouTube, Billboard, TIDAL, EMPIRE, UnitedMasters, among others.

Whether you’re an aspiring musician, agent, roadie, or interested in other aspects of the industry, All Access Fest is your place to get valuable insights and make connections to help you get to the next level. 800+ attendees from 10+ countries and 30+ states in the US are already signed up!

Register for FREE today at bit.ly/MFF_AAF.

DETAILS

Event Time: 9:00 AM - 5:00 PM (PT) / 12:00 - 8:00 PM (ET)

Location: Custom virtual platform (Zuddl)

Registration Link: bit.ly/MFF_AAF

MFF Social Handles:

Instagram – @musicforward

LinkedIn – Music Forward Foundation

A Day in the Life of Music Industry Exec and Mom of Two, Kayleigh Ramchand-Bentley.

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The Flexible Working Bill has successfully passed its third reading at the House of Lords on July 14th without any amendments, and it is expected to receive Royal Assent and become law. Workers across the UK are set to have more say in their working patterns than ever before. These laws will include the right for workers to request flexible or remote working from the very beginning of their employment, marking a significant departure from the current requirement of 26 weeks of continuous service.

Experience a day in the life of Kayleigh Ramchand-Bentley, a music industry executive and mother of two, as she juggles her responsibilities at Various Artists Management with her youngest daughter by her side. Watch the video and gain insights into Kayleigh's perspective below.

“There’s only so much you can capture in a 1 minute reel, and by no means is taking a 7 month old into the office as easy as this video seems - it’s exhausting and sometimes not the most ideal situation for me, or my daughter… or my colleagues 😅 but we make it work and I’m grateful to be in a position to do so.

However, I want to recognise that this set up should not be considered a privilege, but rather an acceptable flexible working request. I’m by no means saying that this way of working is for everyone, but everyone should be entitled to reasonably request working around their’s and their family’s needs.

The Flexible Working Bill is set to become law in the UK and will give workers the right to request flexible working from day one, and will require employers to respond within a certain timeframe, justify rejecting a request and provide consultation with the employee where a request has not been deemed suitable".

We hope it has a huge impact on making the music industry more accessible for parents and carers.’

Thank you so much for sharing this, Kayleigh!

Member Spotlight #41: Insights from ESEA Music Founder Tiger Hagino Reid

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Tiger is a Japanese British artist manager, creative producer and campaign manager based in London. Her artist roster is Rina Sawayama, Yaeji, Lucinda Chua, Bat For Lashes and Tohji. She also co-founded ESEA Music, a community which aims to provide better representation for ESEA (East and Southeast Asian) artists and professionals based in the UK music industry.

shesaid.so: What inspired you to create and to co-found ESEA Music, and what are your goals?

Tiger Projects was more of a necessity at first tbh. My time at XL Recordings was coming to an end. I’d worked for someone else my whole career in music and wanted to go at it alone. It was super daunting at first. I had this negative thought pattern that artists only wanted to work with me because I was part of this cool record label. It was also during the Covid-19 pandemic / recession. In addition to all that, your trad record labels tend to keep their marketing /project management roles in house, even when certain artists could benefit from more specialised and tailored expertise. Labels can justify out of house PR + radio but in my freelance role it's pretty rare. All in all it’s not easy.

My goal for my own business was to build a roster of artists, the way I see PRs do it. I wanted to choose the artists believed in and politically aligned with. I wanted to work with Asian artists, not all, but predominantly.  I also wanted to get back to Japan as often as possible and ideally out to Asia too :) After a year out on my own I have no regrets! I’ve got so much more fire for what I do and I love the roster I have built.

As for ESEA Music, we set it up because there was no one collectively repping us in the industry, from the workers to the signed and grassroots artists at all. We’ve now got over 220 members in the group, just teamed up with Spotify for a showcase, added the first ever ESEA representative on the UK Music’s diversity taskforce, and recently been awarded the Community Grant from WeTransfer’s The Supporting Act Foundation.

shesaid.so: What are some of the biggest challenges you've faced while working in the music industry?

Big Q! So many everyday challenges of sexism, lowkey racial discrimination and microagressions. Dealing with the #metoo experiences of the industry esp in the 2000s. More recently becoming a mother, and turning 40. But shout out to those who have faced way more challenges than me. 

I’m middle class, my pop is an white academic, and I have had four years of private education under my belt. But my biggest challenge still was at the intersection of a very British classism, whiteness and patriarchy that runs through the British music industry.

This quote from Rosanne Mclaughlin’s book of art criticism, that talks about the notion of double-tracking describes succinctly how the ‘coolest’ gatekeepers of the music industry, with more of an ambivalent relationship to their privilege, function.

“To double-track is to be both: counter-cultural and establishment, rich and poor, a bum with the keys to a country retreat, an exotic addition to the dinner table who still knows how to find their way around the silverware.”

I think I might leave it there…

shesaid.so: What are your thoughts on the current state of the music industry?

I think we’re all experiencing a background and or frontrow burnout, from having to create, commission, request, strategise the roll out of content or assets as we like to call them. I’m trying to unlearn the word asset, when it comes to the art that accompanies the music. 

Of course being an artist is not just about making the music, however, the money needed, the experience and time needed, as well as the amount of CONTENT + ASSETS required across the gazillion of platforms that host music related work is exhausting.

There is also an added pressure and sometimes assumption that artist esp women should also be a visual artist and multidisciplinary, and aim to be called words such as creative polymaths.

I won’t even get into the pressure of TikTok.

Rina Sawayama

shesaid.so: Who are some of the artists you've worked with that you're particularly proud of?

Firstly, Rina Sawayama :)  To see an Queer Asian popstar in the UK slaying has been so life affirming. Her album ‘Hold The Girl’ released last year, was the highest UK chart position for a Japanese artist ever.

She’s an artist that knows the power of popular culture, in the way that legendary Cultural studies scholar, Stuart Hall frames it! “popular culture is one of the sites where this struggle for and against a culture of the powerful is engaged: it is the stake to be won or lost in that struggle”

I wrote a long ass essay about Rina’s and Queerness in Japan for my MA. Japan has a lack of any national LGBT laws, ranking second to last in LGBT rights among the 40 wealthiest nations. At summer-sonic in Tokyo last year, I helped write the speech that Rina delivered at her first ever show in Japan! It was an incredible moment, we cried, it trended on twitter, it is part of the movement towards a better and fairer society for all people in Japan.

Secondly, Lucinda Chua. I am constantly in awe of Lucinda for her ability to channel her vulnerability into her work. Esp when I find my own vulnerability so difficult to share. But what I really appreciate is working with someone who mirrors back the feeling of in-betweenness that many mixed heritage folks experience. It's a feeling of not being whole that I've felt for so long.


shesaid.so: What are the biggest challenges East and Southeast Asian artists face in the music industry today?

I would say the biggest challenge facing East and Southeast Asian artists in the UK is representation and visibility of our creativity. We need more mainstream British ESEA artists. How many can you name? We have a handful of the mainstream UK ESEA artists right now, Rina Sawayama, Beebadoobee, Griff and Jax Jones. However, from what I see through ESEA Music, there is this huge gulf between the artists I just mentioned and all the new artists and grassroot artists coming through. So the biggest challenge is a lack of representation of us in British music culture. As Beabadoobee told Music Week, “Filipina girls telling me I’ve inspired them to pick up a guitar or that this music can be for them really means a lot to me, I didn’t have that sort of representation growing up and so I very much want them to have it.” 

Secondly we’re not seen as the creative ones. In a nutshell, the experience of ESEA folks in the UK (especially the middle class) can be described by the phenomenon of the 'model minority myth', where we are seen as palatable to the white majority only insofar as we are hardworking, studious and quiet. As Dr Diana Yeh, a Chinese British academic, describes ESEA cultural practices as '"visible but unseen", present in the social and cultural fabric but rendered invisible within the social and cultural imagination.' It's about including ESEA people in the cultural imagination. I love the way Lucinda Chua put it in her gal-dem piece, “Representation isn’t just about diversity, it’s the ability to see yourself outside of yourself, the encouragement to dream and desire.”  

shesaid.so: What can be done to improve the representation of East and Southeast Asian artists?

At ESEA Music we are attempting to improve this by uplifting the whole community through the work we do. To give two examples, we run an internal mentorship scheme called Sesame, which provides mentorship between more established artists and emerging artists, as well as between music industry professionals and artists. We’re developing this scheme to run publicly this year. 

Secondly, we run ESEA Writing & Recording Camps, which is the brainchild of artist Lucy Tun, British/Burmese musician and in-house engineer at Urchin Studios. The intention with the writing camp is to bring together the many talented artists within ESEA Music and provide the experience of session work, writing together, being creative, trying new genres. We’re got a whole series going out in the summer this year and I’m so so so excited for them!

My own personal hot take too is that if you are Asian or ESEA and work in the industry at a mid - high level, that if you just pivoted even as little as 5% of your workload to work with an ESEA Artist or volunteer your time to ESEA music, that stark lack of representation would start to look at whole lot better. 

shesaid.so: What is the most important aspect of effective artist marketing and management?

Artists are the best at marketing their own music. I learnt that at XL Recordings and especially from Sian Rowe.

All you have to do ask the right questions and listen to them. First of all it’s often all in the music or in their lyrics. If not it's in the everyday conversations you have with an artist. Not the ones where they are under pressure to sell what they do. It’s in those moments of quotidian work. Sometimes it’s just telling them that you found their idea, positioning or thought interesting. I think any of us artists or not are just looking for our internal worlds to be validated. To have someone believe in us.

shesaid.so: What is the most important thing for artists to keep in mind when trying to break into the industry?

The most important thing is to keep on going, it's a marathon not a sprint. keep on creating and making and putting it out there.  Also to add that  finding a good team is vital. That doesn't have to be an strictly industry person, like a lawyer or booking agent. But it’s about building your community around you, from your band mates, creative collaborators, music making team. The folks that really help you create the art. Even when you ‘break’ in you still need your people around you.

We are thrilled to welcome shesaid.so Iceland!

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Their launch event will take place at Loft Hostel on November 5, during the Iceland Airwaves Festival and Conference and you can RSVP HERE.

The Icelandic chapter is being started by Anna Jóna Dungal, Hrefna Helgadóttir, Kelechi Amadi and Kim Wagenaar. What they all have in common is having spent significant time abroad, where they individually came to appreciate the value of strong communities to share experiences, collaborate and accelerate career growth. The team decided to formalise themselves for women and gender nonconforming people under the banner of the global shesaid.so. The Iceland Chapter will aim not just to strengthen itself by connecting internally, but also build on this global brand to strengthen and build on connections to the international music industry. 

The goal is for the organisation to start in 2023 with four big events over the year and a series of smaller networking meet-ups. The chapter will be run by 5-8 industry professionals and artists who together make up the board, and then any woman or gender nonconforming person in Iceland can join as a member. Members will pay a small annual fee to access the events, the global community, job opportunities in the industry and much more and is open for all women and gender nonconforming people who work in music in Iceland. The organisation will look to educate, inspire, connect, and entertain its members offering up opportunities to network, and showcase talent both at home and away – which will serve the wider music community in Iceland by making the industry more equal and more visible. 

"When I moved back to Iceland during the COVID pandemic, I was really missing a sense of community around the work that I was doing. Getting the opportunity to connect with dozens of women through the Keychange program in 2022 made it click with Kim and I that this is what’s missing from the Icelandic scene: a safe space for women to connect around the work that we do in music."

– Anna Jóna Dungal, titill 

When they approached me, I instantly felt like this was something I should participate in. I‘ve worked mostly with women in my collectives as an artist and project manager, very powerful and legendary women whom‘ve inspired my in lifechanging ways. There‘s some crazy magic that happens when those projects work out. But those women-fronted collectives and teams are rarely the case in the music industry, and I think shesaid.so can path the way for that magic to flourish.

– Ása Dýradóttir, Mammút

We are thrilled to welcome shesaid.so Iceland to the #shesaidso family and extend our vision and mission further into the European market. Wishing the team a successful launch, and can't wait to see what they will accomplish! We’re so looking forward to seeing your success in our global community.

— Andreea Magdalina

Founder, shesaid.so

 

Artist Spotlight #7 : Bea Anderson

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Bea’s earliest experience of music came as a three-year-old when her Mum placed her in front of an audience and asked her to sing. As she shares here, her musical journey since then has really formed itself as an extension of her development as a person. Her interest in timeless sounds and music with soul has guided her releases and collaborations, prioritising ‘authentic over current’. With her first release on 2022, ‘Mirror, Mirror’, landing on the BBC Radio 1Xtra playlist she looks ahead to her next single ‘Pieces’ and how she’d like to see the industry develop.

Bea Anderson

shesaid.so: Tell us more about your artist journey and how your sound has developed to where it is today?

BA: As strange as it sounds, I feel so far into my journey — yet it’s only just starting! It’s taken years of cultivation/experimentation to get to this sound so I am super excited about how I have been received. Guitar has always been key to my songwriting, hence why it’s usually the main instrument in my songs thus far. My EP was quite guitar based, but more so because I wanted to show the world how I make music and where it’s derived from. Moving onto my releases for this year however, everything is much more production based, and really shows my artistic influences.

shesaid.so: There are some iconic artists and creators who have inspired and influenced you (including Lauryn Hill, Solange, H.E.R). In your opinion, what sets artists like these apart?

BA:

“Timelessness! You could listen to these albums YEARS from today and they’d still be relevant, fresh and exciting. That same concept is literally what I strive to be, authentic over current, and timeless.”

shesaid.so: You had an exciting start to 2022 with lots of support for your beautiful record, Mirror Mirror. What did that mean to you?

BA: The support meant everything! I was quite nervous releasing Mirror Mirror as it was such a stand out track and not too current. I really wasn’t sure how it would be received, however, seeing how people interacted with the song was so heartwarming and a reminder to always stay true to myself and my music.

shesaid.so: ‘Pieces’ is next up! What can you tell us about the writing process of that song?

BA: So I started writing pieces in a virtual session. The producer, Jarom S’ua (US based), played the beginning of this beat and I literally fell in love with the tune over zoom! I wrote the first verse and chorus in half an hour and completed the song in a few days. That doesn’t always happen with music, but when it does it’s like absolute magic.

shesaid.so: shesaid.so is a community guided by intersectionality. In your opinion, how could the music industry do better in terms of inclusivity?

BA: I think there are SO many female music producers and beat makers of multiple genres, which is absolutely beautiful. It would be great to see those names as the lead producers of major artists, giving them the same amount of exposure as male producers in their field.

shesaid.so: Has community played a role in your evolution as a creative?

BA: Most definitely. Community plays a huge part in my why. My aim is to be a role model for young women and minorities to look up to and aspire to be like — encouraging them to dream big, regardless of their upbringing or surroundings.

shesaid.so: And finally, could you share three bullet-point top tips for artists just starting out? What would you have loved to hear?

- Find yourself first and then allow your music to be an extension of that.

- Your journey is separate to everyone else’s, stay focused on yours.

- And, take your time, don’t rush baby!

Where you can find Bea Anderson:

Spotify // Apple Music // YouTube // SoundCloud

Instagram // TikTok // Twitter

Shesaidso

Music Industry