music insider

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tips for staying grounded on a tough day.

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

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

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

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

What are you listening to at the moment?

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


Connect with Lisa Simpson on Instagram & LinkedIn

Check out Easol


25 Years of MUTEK

MUTEK Festival - the international celebration of electronic music and digital creativity - celebrates its 25th anniversary edition from August 20 to 25, 2024. Artists and music lovers from all over the world will gather in Tio'tia:ke / Mooniyang / Montréal for six days of immersion in sound and visual art.

Since its creation in 2000, MUTEK and its multiple venues have been the stage for the debuts of numerous artists, many of whom are now major figures in electronic music. In 2023, over 46,000 people enjoyed a rich and diverse selection of music, all of it free.

This year, the festival will put forth almost 80 live performances in several emblematic spaces in the heart of the city, bringing digital art to public spaces and offering Montrealers and tourists a unique, sensory experience through a journey of around twenty unique installations.

From August 15 to 29, 2024, the Village Numérique will be presented free of charge between 6 p.m. and 11 p.m. in the Quartier des Spectacles, enabling everyone to discover this innovative, immersive art form.

In addition, more than 90 international experts in AI, XR, sustainability, music, architecture and video games will come together to explore the impact of technology on our lives. This edition of MUTEK’s Forum will take place from 20 to 23 August at the Monument-National and the Society for Arts and Technology (SAT), with over 60 conferences, workshops and laboratories.

Music programmer and event management expert Marie-Laure Saidani reflects on MUTEK's 25th anniversary in this special feature. With nearly 20 years of industry experience, Marie-Laure has been a co-programmer for MUTEK since 2020, contributing to the festival's esteemed reputation.

What are some special events planned to celebrate MUTEK's 25th anniversary?

MUTEK has been promoting electronic music and digital arts for 25 years. Its uniqueness lies in the predominantly live musical performances (as opposed to DJ sets). MUTEK's strength is in offering exclusive line-ups in North America, setting it apart from other festivals. However, this specificity can be a limitation, as most people do not recognize the names. Fortunately, our audience trusts us.

I remember a Reddit comment about one of our line-ups: "Are these made up names?" But, some of these artists are now performing at more mainstream festivals, for example, Honey Dijon, who played in 2018, just went on a stadium tour, or Overmono, who performed at our 20th edition and was at Osheaga this year.

To celebrate this anniversary edition, we have planned several large-scale international projects for the Experience stage (outdoors and free): Mathew Jonson, Maara, Bored Lord, Piezo, Marie Davidson, Waajeed, James K, Siete Catorce, Virginia, in addition to some artists performing live indoors and doing DJ sets outside.

Regarding digital arts, one of our special projects for this 25th anniversary is the free presentation of 23 works in public spaces for three weeks in the Quartier des spectacles. It's not the first time we've organized an exhibition, but it's the first of this scale. Its little name? Le Village Numérique. 

How has the festival managed to attract such a diverse lineup?

MUTEK aims to be a platform for multiple voices in the electronic music field. Participating in MUTEK can be an exciting moment in artists' careers. On the one hand, because MUTEK is internationally recognized for this genre of music, and on the other hand, because it can open the door to other opportunities, whether for dates in other countries or for artistic collaborations. And finally, everyone wants to come to Montreal!

The programming of our festival is built around several axes. At least 50% of our line-up are Canadian projects; artists from or living in the region (now called Canada). Some come from our “call for projects” launched every November, while others are selected following direct conversations with artists we follow. Those international projects we have been following for a long time, those we have fallen in love with in the past year during our outreach, and those suggested by our international partners (MUTEK is also based in Buenos Aires, Santiago, Mexico City, Tokyo, Barcelona, and Dubai).

MUTEKLIVE261 - Ellxandra

World Premiere at MUTEK Montréal | Édition 23 Play 2 on August 26, 2022

It is no secret that the music industry, and particularly electronic music, is dominated by men. Gender parity is always desired, never achieved, but we are often in the parity zone for performances. Over the past ten years, we made significant changes that are visible in our programming.

Presenting live performances adds an extra difficulty, requiring time to produce music, visuals, and scenography, as well as knowledge and access to instruments and equipment. The luxury of touring remains another obstacle.

For women and those identifying as women, barriers are omnipresent. We participate in the European gender parity program, Keychange. We have hosted several cohorts, whether artists or innovators. We also created the AMPLIFY D.A.I program for women or those identifying as women or non-binary in digital art and electronic music.

This project, set up and funded by the British Council, CAM, CCA, CALQ, Summer Set House Studios, MUTEK Montreal, Buenos Aires, and many other partners, lasted from 2018 to 2023, ending due to lack of funds. Each annual cohort benefited from mentoring, training, and one or two international dates, which helped create a strong and supportive network. Thanks to Patti Schmidt (Programmer from 2008 to 2019) for giving momentum to this movement.

Diversity is a cross-cutting issue, to be considered on stage and behind the scenes. The barriers faced by women are even more pronounced for women and non-binary BIPOC individuals. How can we break down these barriers and create a safe space for these artists to express themselves at MUTEK? Our entire team is aware of this context. We benefit from constructive feedback from our audience, artists, and engaged guests, which allows us to question ourselves and move forward. 

This year, we have the privilege of collaborating with Feminae Nox, a collective that promotes equity for women and BIPOC individuals who are non-binary in music and nightlife. In addition to co-presenting the Nocturne 4 dome, Feminae Nox is organizing a panel at the Forum on Friday titled “Electronic Music is Black Music - Reclaiming and Tracing Electronic Music’s Roots, Present and Future” and a workshop titled “Passion to Profession: Building a Global Brand in the Music Industry.”

Photo Credit: Bruno Destombes (MUTEK 21)

How has MUTEK influenced the local music and arts community in Montréal over the past 25 years?

MUTEK has always been a playground for artists. Many local artists (meaning artists living in Canada) have presented, and continue to present, their first-ever live performances at MUTEK. This requires a great deal of trust in the context (will the production means be efficient? Will the audience be receptive?). It's a risky endeavor. We can never thank them enough for giving us the opportunity to present them at the festival.

During MUTEK week, an entire local and international community gathers in Montreal to celebrate electronic music through performances, panels, conferences, and workshops. This stimulates creativity!

Networking is very important in music, as it can lead to new ideas, collaborations, and most importantly, sharing a collective experience.

In 2020, we launched an initiative to support Canadian artists in developing their careers: MUTEK Market. Each year, we support about twenty artists with training and workshops, and we organize meetings with festival programmers so they can promote themselves. These artists perform at the festival.

This year, we introduced a new initiative, MUTEK Incubator. This program supports 10 artists who wish to professionalize themselves through training and mentorship. Although these artists are not performing at the festival this year, they may well have the opportunity to do so in the near future! 

Eris Drew DJ set | Photo Credit: Frédérique Ménard-Aubin

What are some of your favorite moments from your time with the festival?

I have way too many fond memories of MUTEK. Before working there, it was my favorite festival, both personally and professionally. I'm talking about it in the past tense not because I don't love it anymore, but because I can't enjoy it the same way. Haha.

In the early days of MUTEK, what I loved most (sarcasm intended): there were no lines for the women's restrooms, while there was a long queue for the men! Now, there are lines everywhere, partly because the audience has diversified, but also because the restrooms are no longer gendered.

I used to love going to the AVision program at the Monument National back then. These programs, where performances combine visual scenography and sound, were (and still are) the only ones at the festival with seated places. I could alternately take naps, marvel, not understand anything, and leave wondering what had happened.

Musically : Gangpol & Mit (2007), Underground Resistance (2008), Ricardo Villalobos & ZIP (2009), Ikonika (2010), Emptyset (2011), Jeff Mills (2012), RAMZi (2013), Marie Davidson (2014), Andy Stott (2015), Aïsha devi (2016), Surgeon & Lady Starlight (2018), fuse* presents Dökk (2019) , Being capable of producing shows (2020), Phèdre (2021), Tarta Relena (2022), Deena Abdelwahed (2023)

Can you share some highlights from your time programming MUTEK?

Programming a festival involves dealing with cancellations and travel-related complications: flight delays, missed connections, lost luggage, visa delays... It's ten days of a rollercoaster.

I particularly remember the Thursday night at MTelus in 2022. The lineup included MUE, Marina Herlop, Bendik Giske, SMERZ, and Caterina Barbieri. Marina Herlop was then supposed to go on tour in the United States and needed a visa that was taking a long time to arrive. Her entire team arrived in Montreal in dribs and drabs on the morning of the concert, except for her. She was in transit to Toronto.

Caterina Barbieri | Photo Credit: BRUNODESTOM

We had to modify the soundcheck schedule every hour to allow her to do one. But her flight from Toronto to Montreal was delayed due to a thunderstorm. So we reorganized everything: the venue was already open and the shows had started, but we changed the entire running order. The other artists were very generous and agreed to change their schedules. Finally, Marina arrived in Montreal and at MTelus. The concert took place. It was a very emotional moment for the artists, the programming team, and especially the production team!

From a development perspective, the Keychange and Amplify DAI projects remain among my best memories. These programs aim to promote the place of women, people who identify as women, and non-binary genders in music and digital art. The meetings, discussions, and performances that resulted will remain etched in my memory. I could probably elaborate on this point with many other anecdotes, but we could talk about that around a coffee !

What are you most excited for attendees to experience at this year's edition?

I can't wait to reconnect with the audience and the artists for a week and feel that ultra-creative and effervescent atmosphere that's unique to any festival.

I'm really looking forward to seeing many local artists: G L O W Z I, who is presenting a new live show; ÈBONY, who is releasing an album on the day of their performance; CHXMERAS, West Coast artists who released an album this year titled "Terminal City"; Jacques Greene, who is presenting the premiere of his live set with Nosaj Thing; the new AV live set for the dome by Sinjin Hawke and Zora Jones; Tati au miel's performance, who is also preparing an exhibition for the fall; Dj Hermano and OJPB, who will present "Club Merengue"; CLOUD BODIES, a dance performance designed for the dome; and Liliane Chlela, who will present her new album "Anatomy of a Jerk."

I could spend hours telling you everything I'm looking forward to. I can't wait to see it all, but I have to restrain myself because it's impossible to see everything (we share the events with my colleagues). The image of MUTEK may seem austere, but it's much more fun than you might think.

Do you have any artist recommendations for the audience to check out at the new venue New City Gas?

A stellar lineup in a unique venue, still relatively unknown to our audience. A former factory and EDM temple in Montreal, this place is also a superb concert hall. Last year, the reaction from the public and the NCG was very positive, so we decided to come back with an even more ambitious proposal.

Patrick Watson will present an experimental show, in the same vein as what he proposed in 2020. Kara-Lis Coverdale, whom we have been following for years, and Colin Stetson, a saxophonist with whom we have long wanted to collaborate, will also be part of this program.


Highlighting the Opportunities Within South Asian Music

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

Michelle Kambasha: Curating Black Alternative Music on 'Black Radical'

Michelle Kambasha is a music publicist, journalist, public speaker and educator. Her work primarily focuses on the intersection of Black representation in alternative music spaces. As a publicist, she worked at Secretly Group and Satellite414 covering acts like Sharon Van Etten, Bon Iver, William Eggleston, Lonnie Holley, Jamila Woods, Moses Sumney, Dave, Amber Mark and more.

She also frequently writes for major publications such as the Guardian, The Telegraph, The Independent and frequently hosts industry focused talks on panels alongside running her PR company, KP Communications (where she works with Kara Jackson, Jamila Woods, Aja Monet, Madison McFerrin) as well as organisations like The Black Curriculum.

Michelle launched “Black Radical” (a new substack newsletter that will exclusively feature black artists that perform in alternative and/or less mainstream music genres e.g. post punk, singer-songwriter, indie, jazz, guitars, rock, experimental etc.) in early July.

"Black Radical" subscribers already include top music journalists, independent and major label figures, booking agents, sync executives, and music fans. Artists of any experience, age, gender, and level are welcome, and coverage isn’t beholden to upcoming release schedules.


How did you start your career in music?

I started my career properly as a junior music publicist at Secretly Group (Dead Oceans, Jagjawar and Secretly Canadian). It was a very exciting time to be working at the company; they had a small team, dedicated to establishing the label in the UK and Europe. The staff was  experienced and came from different music backgrounds. Being only 21 at the time, I was really lucky to work with people who were willing to help guide me. 

At the time, the label was known for working with artists that were firmly in the US indie-rock tradition, such as the War on Drugs, Bon Iver, Black Mountain, Sharon Van Etten and more. In the years that I worked at the company, the label progressed to being much more diverse - both in its roster and its workforce. It meant that I had the privilege of working with artists of the global majority like Jamila Woods, Moses Sumney, Japanese Breakfast, Lonnie Holley and Durand Jones. It was clear that there were higher-ups in the organisation that were making a concerted effort to stay true to themselves and evolve while doing so. It’s an ethos that I’ve taken with me and embedded more radically to my own working practices. 

What inspired you to create the black radical newsletter? 

It was a combination of things. Over the last year, I began to renegotiate what I wanted my participation in the music industry to look like. I’d spent many years as a publicist, with a few other things tacked on, but I felt I needed to be re-energised in a different way, that combined my expertise and my values. I did a personal audit and my interests and passions began to reveal themselves. The key question became: how do I create a simple project that combines my work as a publicist/writer with my love of Black alternative and radical traditions within music? Many ideas floated, then suddenly the idea for this newsletter came to me. Over the last five or so years, there’s been a re-emergence of Black alternative musicians in the indie mainstream (we have always been there), which I’ve found encouraging. But I’ve often found it frustrating that some writers struggled to tackle the racial question in a nuanced way or reduced stories to ones merely about race, when it isn’t called for. 

Article by Michelle Kambasha at the Guardian | Jun 2022

Oftentimes Black musicians have to offer up their identities on a platter, only for it to be reduced to racialised headlines and questions that had nothing to do with their music. That, or they’ve mishandled the questions that were about race. Beyond articles, I’ve seen this in action as a publicist working for Black alternative artists. 

At the same time, I was reading the work of different poets, journalists, artists and theorists who tackled the questions of Black alternative existence: Saidiya Hartman, Kodwo Eshun, Neil Kulkarni, Craig Jenkins, Hanif Abduraqqib, Dele Fadele, Greg Tate, Hilton Als, Amiri Baraka, Toni Morrison, James Baldwin, June Jordan, Christina Sharpe, Julie Dash, folk of the Black Arts Movement, Horace Ove, Stephanie Phillips, John Akomfrah and the Black Audio Film Collective and many many more - this is where the radical element of the newsletter comes into play.

I am also concerned with Black publications that don’t highlight the work of Black alternative musicians. While they may not have the influence of white media, I believe they have a responsibility in showing all of us. This isn’t a new struggle - even when there were more Black titles, there is a long tradition of them not covering key aspects of Black music tradition, be it jazz, blues and electronic music. 

Was there a particular event or realisation that made you feel the need to create a dedicated platform for showcasing black artists in alternative music genres?

Along with some of what I’ve mentioned already, I was particularly catalysed by how Black Music Month was covered by major organisations like Apple, NPR, Grammy.com and many more. There was a keen focus on Black music of the R&B and hip-hop tradition, but nothing about our place in genres like rock, punk, alternative and (maybe most shockingly) electronic music and jazz.

Omitting our presence further erodes the public perception that we weren’t/aren’t present in this space, when quote the opposite is true. It felt like a huge oversight and missed opportunity. More generally, It’s the same publications and organisations that commission one-off articles about the reclamation of Black people in these spaces, but elsewhere continue to categorise us as being ‘just one thing’. There has been no real commitment. The newsletter just feels like a very small way of re-addressing this issue. 

oreglo - Not Real People (Full EP) on Brownswood Recordings YouTube Channel

How do you find and select artists and what criteria do they have to meet?

Simply, it's music that I like, whether that comes from something that I've organically found, a PR has sent to me and they think that I might like or something that a friend or another peer has sent to me because they think that it might be up my street. I take submissions from anyone, whether it's formal or informal. In terms of the criteria, the artists have to be black or they have to be a member of a group that might have other white members in it. I'm quite a conversationalist so they have to be artists that are really interested in getting into the weeds of their kind of creative process and their influences.

The main agenda is to be excited about the music that I'm covering. I am also making sure that it is for the sake of the music. Nothing is going to be brought in to it. It’s not about a specific album timeline or anything like that. One of the great things about doing something like this is that I don't have to align with editorial policies - e.g, to work towards a word count or pick up and on a specific agenda, something that's topical. That's not really the point of this newsletter. I’m hoping that people come on that journey with me.

What do you hope readers and subscribers take away from the newsletter? 

My hope is that readers are left with a more holistic view of Black music and a deeper understanding of what it takes to make their music and art - one that lives within or goes beyond their racial identities. It might be the case that these artists don’t talk about race at all, since it may not be a central focus of the music they put it out. 

Introducing people to new ways of seeing how music works with other artistic disciplines like film, art and poetry and radical thought is also going to be a big focus. I also want people to just discover new music that they might be interested in - and by new, I mean new to them (and me!). The newsletter won’t be beholden to just new bands or new releases - it’ll also work like the Wayback machine. 

What impact are you aiming to achieve within the music community?

My aim is to purely platform the art of what I call the Black Alternative (which is inclusive of more than just music) and hope that in some small and humble way, we begin to make a more sustained and solid effort to change how we discuss Black alternative music. I also want Black people to know and internalise the breadth of what Black music is. I love the work that the likes of Skepta are doing to introduce Black people to Black electronic music roots. There needs to be an understanding that music genres that appear to be predominantly performed by white people is, more often than not, Black music. I’m also really keen to partner up with other initiatives that are sympathetic to this work.


If you’re an artist that fits the remit, or knows artists that do, please email michelle kambasha on blkradicals@gmail.com

Subscribe to the Substack here: https://blackradical.substack.com/

Links to social: LinkedIn

Music Insider: Linda Walker

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

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

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

How did you get your start in music?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tips on finding your first music job?

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

Tips for anyone who wants to get into your industry

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

Connect with Linda Walker

Music Insider: Iiris Vesik (Night Tapes)

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

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

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

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

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

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

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

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

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

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

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

Tips for finding your creativity on a challenging day.

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

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

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

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

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

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

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

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

(Yeah, this is long).