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


shesaid.so panel at Beyond the Music global music conference in partnership with Musicians'​ Union

Join shesaid.so at Beyond The Music global music conference in partnership with Musicians'​ Union.

We are hosting a panel titled "Misogyny In Music: The Truth" with guest speakers; Zelda Perkins (Can’t Buy My Silence), Jen Smith (CIISA) and artist Ni Maxine , moderated by Dr Diljeet Bhachu, FHEA FRSA (Musicians’ Union) on Thursday 10th October at 15:15—16:30 pm BST.

Description: The previous government’s Women & Equalities Committee "Misogyny In Music" report underlined how ingrained misogynistic culture is in the music industry, and the rejection of the recommendations revealed a worrying lack of seriousness, understanding and responsibility towards half of this industry’s workers. In a drive to rewrite the cultural boundaries of the music business by truly understanding the difficulties women face, Beyond The Music gives the stage to those who want to share their experiences, gathering experts to discuss and shape the brand-new voluntary regulation.

Date: Thursday 10th October

Time: 15:15—16:30 pm BST

Location: Aviva Studios, Manchester

shesaid.so Members get a 20% discount on Delegate Passes; find the discount code at the Community Hub.

Delegate Tickets HERE & Beyond the Music Information & Listings

We are thrilled to welcome the team of shesaid.so Finland!

shesaid.so Finland is a platform for underrepresented professionals in the Finnish music industry. Known for its diverse musical heritage, from classical to heavy metal, Finland now hosts this chapter to strengthen international connections. It aims to create an inclusive and supportive environment for women, non-binary individuals, and allies in the Finnish music scene.

The chapter’s founders, Lilli Keh and Maiju Talvisto, are committed to creating a space where equality and cultural diversity are at the forefront of the industry’s evolution.

“The purpose of the Finland chapter is not only to drive progress within our local music scene but also to significantly support international initiatives and share networks. We aim to be a supportive force for professionals and their teams, bringing to Finland a chapter where equality and the promotion of cultural diversity are central,” say Keh and Talvisto.

The shesaid.so Finland chapter is dedicated to empowering its members through a variety of initiatives. These include a range of events designed to facilitate learning, connection, and inspiration as well as curated panels and workshops.

shesaid.so Finland aims to support emerging artists and create opportunities for members to engage in discussions about gender inequality and cultural diversity in the music industry. For professionals in Finland's music scene, joining shesaid.so Finland provides a chance to participate in a global initiative driving change in these areas.

Meet the Founders

The launch of shesaid.so Finland is spearheaded by two accomplished professionals who have made significant contributions to the industry:

Maiju Talvisto

Maiju Talvisto is a seasoned live music professional with over 15 years of experience in the music festival scene focusing on artist administration, production, and hospitality. Her leadership at Flow Festival Helsinki has been instrumental in elevating artist relations processes, and she has been a key figure in advocating for safer working conditions for women and minorities backstage.

Maiju’s dedication to promoting a socially sustainable music industry has solidified her reputation as a trusted expert and advisor, with her recent contribution to Yourope’s 3F Diversity & Inclusion Toolset. Her debut book, At the backstage - The Artist Producer’s Handbook, published in 2022, has become an essential resource in the industry. Maiju has received several honors, including Professional of the Year in Arts (2019) and Production Manager of the Year in 2019 and 2022.


Lilli Keh

Lilli Keh is a professional in the entertainment industry, known for her expertise in artist management and marketing. Her strategic insights have helped shape the careers of artists like OLGA, F, Malla, and Slani. Lilli’s recognition as a Nordic Music Biz Top 20 Under 30 and Manager of the Year in 2023 underscores her influence in the Finnish entertainment scene. She is committed to promoting cultural diversity and fostering global collaboration, making her a vital figure in shaping an inclusive and dynamic cultural landscape in Finland.


Want to get involved?

Under One Roof: Alice Woods' Mission to Make Manchester's Dance Scene Inclusive for All

Under One Roof is on a mission to democratize Manchester's dance music scene by creating an inclusive rave experience for everyone.

Founded by Alice Woods (founder and resident of of long running female-led Manchester techno party Meat Free and shesaid.so alumn), Under one Roof is designed as a safe, welcoming, and vibrant space, it caters specifically to adults with disabilities, alongside their friends, families, and carers, who are always welcome free of charge.

Over the past eight years, Under One Roof has fostered a community that not only invites disabled clubbers onto the dancefloor but also champions disabled DJs and performers, ensuring representation both in the booth and beyond.

How did the idea for Under One Roof come about?

It basically came about after a few years of running Meat Free, I'd felt so grateful for the new community I‘d found in Manchester through dance music (after having moved here on a whim from Belfast) that I wanted to find some way of giving back, by way of widening out the inclusive dancefloor that we'd worked hard to create through Meat Free.

I knew there were still so many people in the city that did not have access to the music scene, although at that stage I didn't know how or why I could reach them. I then saw online a party somewhere else in England that was for people with disabilities and it felt like a perfect thing to replicate here in Manchester so Under one Roof was created.

I was very lucky that from the get-go, local self-advocacy organisation Manchester People First were willing to work with me on it and have been an integral part of it ever since. I couldn't have done it without their help, and especially at the very start when I had zero experience or clue what I was doing! 

Can you share some of the key experiences and feedback you've received from disabled clubbers who have attended your events?

I had, like so many of us, always taken clubbing for granted - never really even considering wheelchair access to a space let alone the social environment. Under One Roof has been a continuous learning curve as well as a huge wake-up call - it has always shocked and saddened me when I hear that someone has never been to a club or dance music event before, and they may be in their 40s - especially as it's such a formative part if growing up for so many of us. 

Whilst it's amazing to be able to be part of this first clubbing experience for people - it does highlight a major problem in the scene too. That being said, it is truly such a special, fun and authentically joyous experience that I feel so lucky to be there, and the feedback I always get from DJs is that it's one of their favourite parties they have played - no phones on the dancefloor, no egos and the most enthusiastic and energetic crowd who dance from start to finish.

Photo Credit: Mia Nowells

What role do you see the Under One Roof community playing in the future of Manchester’s music and nightlife scene?

I hope more than anything, people with disabilities can feel more welcome and comfortable in more mainstream events and that Under One Roof can offer a stepping stone to that. I'm also striving to find ways to create a more cohesive network of events and organisations across the city (and beyond) so that people with disabilities can easily find accessible events and know where to look for that information - this is something I'm working on with ticketing outlet Skiddle, so keep your eyes peeled! 

What are your future plans for Under One Roof?

Honestly I'd love for it to have no need to exist, in an ideal world all electronic music spaces would be open, accessible, safe and welcoming to everyone. But in the short term, I am constantly on the lookout for more funding - to fund DJ workshops, and create more opportunities for our djs and dancers to enjoy and participate in the kinds of experiences that the rest of us take for granted.


Next Under One Roof Event

Thursday 5th September w/ Aletha (The Warehouse Project) & The Fat Britney
1800 - 2100
YES, 38 Charles Street
Manchester
M17DB

https://skiddle.com/e/39320832 

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.


Monica Mirabile: This Is A Performance School

Photo Credit: Max Lakner

Monica Mirabile (b. Clearwater, Florida in 1988) is a performance artist living in NYC. She is a choreographer, painter, movement director, coach and educator.

Monica often works with musicians and has choreographed and movement directed live tours and music videos for SOPHIE, Mitski, Yaeji, Kenya Grace, Zsela, Zia Anger & Maggie Rogers. Her performance work has been in the Guggenheim, The Whitney, Performance Space New York, The Broad Museum, PS1, Miami Art Basel, HAU Berlin, NADA, Performa and the Queens Museum among others.

Mirabile is also one half of the performance duo Fluct, co-founded Otion Front Studio in 2014, co-founded THIS IS A PERFORMANCE school in 2023 and is the Director of Open Movement at Performance Space New York in the East Village.

What moments or experiences influenced the beginning of your career as an artist?

I always feel like i'm at the beginning. Way back when I was 4/5 years old, I was brought to a crab shack in Florida with my family. Brown craft paper was spread over the table so that when they dump the crabs the mess is contained. They set out crayons to draw on the table and my mom looked at me and drew a portrait of me. I was so excited and I told her I wanted to draw like that and I honestly decided right then that I wanted to be an artist. She gave me a sketchbook that week and I've never been without one since. That was destiny or something sacred I suppose, though my sketchbooks are mostly choreography notes, performance ideas and spells now. I actually just organized a surprise birthday party for my mom and we all wrote her 66 things we love about her. I wrote “i love that you drew a picture of me when i was little that inspired me so much that it became my career”.

How has your experience founding Otion Front Studio shaped your approach to connecting artistic communities in Brooklyn, New York?

Otion Front Studio grew out of many previous collective approaches earlier in my life. Before, Otion there were several girl gangs, an anarcho experimental dance collective and a diy theater in Baltimore, always co organized.

When I moved to NY with Sigrid Lauren after the birth of Fluct, the same things moved me, maybe it was the desire for an alternative without rigid structure or hierarchy.  I had known at that point that I cared about processing information through movement. I loved “rehearsals” being these potent gestation spaces with slippage between making sense and nonsense.

FlucT [Photo Credit: Yael Malka]

My Dads girlfriend, Donna, had given me $5k after she won a malpractice lawsuit. She won that lawsuit after losing the ability to walk. I'm so honored to have known her, she’s been gone now for 9 years. Her gift is maybe a testament to what I love about this kind of work, something where transformation can occur. I’m really just so grateful to all of the people who have come together to become friends and make this kind of work together.

Today, we're still there. It’s actually 10 years old this year. Fostering something for this long has allowed me to see that collectivity and support is amoebic in nature, it grows and changes over time. Today, I use Otion to hold rehearsals with the musicians and clients I'm working with and it continues to have this enchanted spirit in the walls as the community grows.

What was behind the creation of FlucT, and how does it continue to influence your artistic vision?

Fluct was born out of a need and a deep frustration. Sigrid and I were connected by our experiences of being young women under patriarchal capitalism- we were driven to exorcise and soothe in a playful creative processing with our bodies. We were bound up with each other's liberation in knowing that the ugly was beautiful, that support existed and that sometimes you could find the antidote in the problem. It will always influence my artistic vision. I found things in our practice that allowed me to be free and curious and ignorant- knowing answers were sometimes dangerous and that this was a kind of meditative bliss mixed with all that hurt. 

How has your experience directing live tours and videos for musicians such as SOPHIE, Mitski, and Yaeji influenced your artistic approach and collaborations within the music industry?

Working in collaboration is very dna, there is a helix that is unique to each artist and situation. I get really excited to see the material that spins off of a musician. Its body and emotion, lyrics, textures and of course sound. Every live tour is the caldron of depth that comes from an impulsive practice merged with what it took to make the album. Which is often a lot of emotion, desire, practical stress and yearning.

Monica Mirabile on stage with SOPHIE

When i'm working with an artist, I like to listen and shape what is there into something ritualistic or actually felt rather than develop something precomposed. With Mitski, it was about the light… I wanted the light to be a character in her show and i was so drawn to it, inspired by the lyrics.

We had a lot of fun letting fun mean engaging with the work. I got to work closely with her lighting designer Andy Watson and my favorite moment became a reality when she waltzes with the light in Heaven. Sophie became a friend and hired me and Sigrid to choreograph her first live tour after she transitioned. I felt that we were guiding each other through a new textural experience in that tour, that transformation was very visceral and palpable. I really could go on and on about the details in every experience ive had with the people ive worked with, i like to think about it. As far as being in the music industry, I wouldn't say that the music industry makes it easy, logistics are complicated, but I know what I need to make the environment conducive for this work, so it gets a little easier every time.

Can you explain more about the concept of authority in your work and how it manifests across different mediums?

Maybe the best way to answer is that i've always asked some version of the question, ‘Is it god or am I dog?’( which is also the title of a Fluct piece from 2018). It means, Is it that the conditions of my life are precomposed by an authority outside of my control or am i being controlled? Have I become obedient to the conditions? What has authority? Is it the culture, the government, the system, the spirit of chance? the god of me? What authority do I have to control what? What am I obedient to? It’s a riddle. There are many interpretations. This question shows up in everything I do. But in my life I've studied the way we absorb information without consent and I recognize how our bodies and behavior are affected by holding onto this information. Currently I know it is both god and dog in the act of processing movement. 

Monica Mirabile with Eartheater [Photo Credit: Kat Nijmedden]

What was the creative process like for your immersive performance "GUIDANCE" on March 1st, 2024, at your painting exhibition at Albert Projects, especially regarding your collaboration with Eartheater?

I've been interested in near death experiences for awhile, I've listened to thousands of stories.The soundtrack is made up of these stories, sound clips of my family and music including Eartheater. After a 15 year hiatus, I started painting again after my dad died in 2020. The painting show at Albert Projects was titled Guidance ,the process of making these paintings felt like being guided, often adding shadow and light to let something be revealed.

Eartheater and I have been friends for over a decade and have collaborated many times. In the performance she guided with her movement, voice and light.

The performance was a kind of ritual in more ways than I can say right now, but I had been searching for the light. In the performance, Eartheater finds me in the dark with the light. At one point she puts the light in my mouth and I swallow it, it lets me move and then Alex helps me through the struggle of my body before holding me. It was a testament of growth and support for both of us.

Do you have any dream collaborations in mind, either within the realm of visual arts or music, that you aspire to pursue in the future?

Honestly, I do but i dont know who they are yet, i feel very let god about connections. I know i want to do more scaled up performances and it seems more and more my performances are involving my paintings.

Could you walk us through a typical day in your life as an artist and choreographer?

Photo Credit: Max Lakner

I’m not sure that i have a typical day. I wake up, i try to eat healthy, right now im focusing on a healthy liver, the seat of vitality. I sometimes do yoga. I often meditate and then i go to my studio, whether its my painting studio or movement studio depends on what i’m working on.

Right now I am writing a new performance so a lot of my time is spent in meditation and writing. Soon I will contact performers and start to workshop in the studio, it will be playful at first and then it will begin to take form.

This coming Saturday i am movement directing a music video for an artist named Yatta in Forest Hills. We have had lunches and zoom calls to set the scene. I’ll arrive on Saturday and we will create compositions before each shot and rehearse in the margins. ill work with the artist, the band, the director and the DP to bring the dream to life. The days change and i love that.

How do you stay grounded and focused on a tough day?

On a tough day, I meditate. I let go and i go in. To ground, Ill do a body scan where i  identify sensations in my body and let myself explore there. I have a practice i call ‘unblocking’ that allows me to guide myself through these sensations and land in a pretty psychedelic impulse. I also guide others, you can find it on my website. Tough days are annoying but in retrospect they always have something to tell us, like “walk a little further” ( which is also what my girlfriend tells me).

What is the most valuable piece of advice you have for artists aspiring to work in your field?

Nobody can do what you do. I think we often dont recognize when our insecurities are sneaky telling us to conform, especially with social media giving so much input all of the time. Truthfully, you are made up of very unique experiences that inform your body language and that is not replicable, it’s like a fingerprint. If you are listening to your body, you'll find what feels right, trust it. Sometimes people need that thing only you have to offer. Continue fighting for liberation.

What are your aspirations or goals for the future of your artistic career?

To continue listening.


** Interview by ninakeh for shesaid.so

Monica Mirabile’s New Projects:

“Viscous” Painting show at Current in Baltimore, MD 

Opening July 27th. Closing August 17th.

THIS IS A PERFORMANCE school 

Sept 7-14th in Lincolnville Maine. Register online.

Open Movement  October 6th - June 15th 

Every Sunday 12-6pm at Performance Space New York in East Village, New York 

Paradise Container, A new performance by Mara Mckevitt and Monica Mirabile

January 2026 at Pioneer Works - more soon.

Website & More Links


Win a 12 Month Roundhouse Creative Studios Membership

We're teaming up with Roundhouse to give away a 12-month Roundhouse Creative Studios membership to produce, record and practice for an entire year.

A Roundhouse Creative Studios membership gets you access to DJ rooms, midi suites, music production rooms, band rehearsal spaces, and a recording studio – all for just £1 to £15 an hour! Plus, members can borrow equipment from the Tech Store at no extra cost – everything from musical instruments and mics to cameras and lights.

Benefit from supportive youth workers and skilled technicians ready to help with any tech issues. Receive one-to-one advice on professional and artistic development and be the first to know about their workshops and courses. Roundhouse also hosts regular events, social gatherings, and life skills sessions for members throughout the year.  

If you're aged 13 to 25 and live in the UK or Ireland, enter our competition for a chance to win an annual membership to the Roundhouse Creative Studios.

Head to our Instagram page to access the competition

Check the description below for more info on how to enter. 

TO ENTER:

  • Like our post

  • Follow @shesaid.so & @roundhouseldn 

  • TAG a friend who you think would benefit from this offer. They MUST follow the same steps to be eligible for an entry.  

Terms & Conditions

  • The competition is open to UK and Ireland residents aged between 13 and 25 only. Roundhouse Studios are located in London, NW1 8EH.  

  • You must complete steps 1 AND 2 to enter. Step 3 is optional.

  • The closing date for entries is 23:59 on Sunday 18th of August.

  • The prize is one 12-month 13-25 membership, as listed above. 

  • The promoter’s decision is final. 

  • The prize is non-transferable, and no cash alternative will be offered. 

  • The competition is in no way sponsored, endorsed, administered by, or associated with Instagram.

  • The Winner will be picked at random and announced via shesaid.so on Instagram.

Good Luck!

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

Ni Maxine's Afro-Centric and Soulful Sound

British Neo-Jazz singer-songwriter Ni Maxine (hailed as a "Black Woman at The Forefront of the UK Jazz Scene" by Black Ballad), is sparking intergenerational conversations through her music, exploring themes of home, identity, self-esteem, and belonging.

Often compared to Billie Holiday, Sade, and Erykah Badu, her political lyricism and timeless vocals have taken her to the main stages including Liverpool's Africa Oyé, Gilles Peterson's 'We Out Here,' and the EFG London Jazz Festival as well as a BBC Introducing 'highlight' live session, a Manchester Jazz Festival performance broadcast on BBC Radio 3's J to Z, and a live appearance on BBC Radio 4's 'Front Row’.

Her award-winning debut single 'Strange Love,' supported by tastemakers Jamie Cullum (The Jazz Show), YolanDa Brown (Jazz FM), Jamz Supernova, and China Moses (Jazz FM), was played across Jazz FM, Radio 1, 1Xtra, and Selector Radio, marking Ni Maxine as an artist to watch.

Ni Maxine has returned with a new single, a reimagining of ‘God Bless The Child’ and a slew of live performance dates off the back of sold-out live shows.


What initially drew you to music, and how did you decide to pursue it as a career?

Music has always been a huge part of my life, but a career in music isn’t something I really considered until that gap between lockdowns in 2020, if I remember rightly. I went busking to raise some money to pay off a debt and it led to me being offered a residency at the coolest coffee shop and wine bar in Liverpool, Ropes & Twines. I’d invite all of my friends down and I'd sing jazz standards and a handful of Amy Winehouse songs that I loved, with my guitarist, and drink Riesling (I used to drink wine, back then) and it caused a ripple effect because lots of bars and restaurants invited me to sing. It wasn’t long before I started to weave a few original songs into my sets that I’d written in lockdown, and people seemed to like them. I then got to the point, later-on, after pouring my heart out every Sunday to a room full of people who were not listening, that I decided to pursue my career as an artist. I have something to say, and I want people to hear me.

As co-founder of The Wombat Jazz Club, what do you aim to achieve with its monthly events and initiatives like 'The Jazz Project' and 'TOGETHER'?

I always feel selfish when I say this, but I simply wish to create the kind of spaces I needed as a young person, but didn’t have access to! I just want to create spaces where everyone feels welcome and allowed to express themselves, freely. It’s simple! I love jazz music and sometimes feel like it’s been taken out of context, out of the hands of the people it originated with, Black people, and like the idea of saying ‘Hey, Jazz is a Black art form, give it back!’ So yeah, that is the thread that runs through my curation decisions when it comes to programming events for ‘The Wombat Jazz Club’.

How do you balance your roles as a performer, songwriter, and co-founder of The Wombat Jazz Club?

With difficulty, at times, to be honest. I’m writing this through eyes filled with tears. It can be so overwhelming managing all of the logistics for live dates, with session musicians and tight budgets, and doing interviews and sessions on radio as well running events on the side, but I’m building a team around me, and I am hoping it all falls into place soon!

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

My biggest advice to artists starting out is to be confident in your art, what you’re trying to say and how you’re saying it. Everyone will have an opinion, but your art is ultimately about you. If you like it, it’s good enough. Remember that!

Tips for finding your creativity on a tough day

Lean into whatever it is that is making the day difficult and put pen to paper. I hate to be one of those people who says that journaling really helps, but it really does. I think sometimes, I have to remind myself that whatever I write might not turn into a masterpiece, but it might help clear whatever is creating a block.

3 things you can't live without in your bag

  • My airpods

  • Lipgloss

  • A spare pair of knickers


Upcoming Live Shows

23 November 2024 - EFG London Jazz Festival

Connect with Ni Maxine

FACEBOOK / INSTAGRAM / WEBSITE / TIK TOK / X


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Connect with Izzy Fincher

Instagram: @izzy_fincher

Facebook: Izzy Fincher - Guitarist

Website: izzyfincher.com

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

Cover Photo by Emma Brawley

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

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

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

How did you start your career in music?

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

Talk to us about your debut on Noir Fever Records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What are you listening to right now?

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

3 things you can't live without in your bag

My Vaseline, gum & ID/bank cards



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3 artists you’re currently listening to

Mansur Brown, Bas, Famtoumata Diawara 

3 things you can't live without in your bag

Lip balm, sunglasses, Gucci guilty 

Tips for finding your creativity on a tough day

Go for a walk, then use voicenotes 

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

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



Chappell Roan - The Rise of a Queer Pop Icon: A Case Study by shesaid.so 

Chappell Roan at Coachella 2024

Chappell Roan, born Kayleigh Rose Amstutz, is a dynamic force in the music industry whose journey from a conservative upbringing in Willard, Missouri, to becoming a celebrated queer pop icon, exemplifies resilience and authenticity. Her story is one of transformation and determination, navigating the challenges of the music industry while embracing her true self. This case study explores Roan's evolution as an artist, her impactful contributions to queer representation, and her unwavering commitment to pushing musical and cultural boundaries. Through her bold lyrics, distinctive style, and passionate support for drag culture, Chappell Roan has not only carved out a unique space in pop music but also inspired countless individuals to live unapologetically.

Early Life and Inspiration

Born Kayleigh Rose Amstutz in the small town of Willard, Missouri, Chappell Roan was raised in a conservative Christian household, attending church three times a week. Despite her upbringing, she was inspired by pop music, including artists like Ke$ha, Lady Gaga, Cyndi Lauper, and Katy Perry, to pursue a career in music from a young age.

Musical Beginnings and Industry Challenges

Roan's musical journey began in her early teens when she started writing songs, driven by her infatuation with an older Mormon student. Her talent caught the attention of Atlantic Records, and she was signed to a record deal in her late teens. Adopting the stage name "Chappell Roan" in honor of her late grandfather, she embarked on a journey that took her across the United States for writing and recording sessions. Despite her initial excitement, Roan soon realized that the music industry required hard work and perseverance.

In 2018, Roan moved to Los Angeles to work with producer Dan Nigro, known for his collaboration with Olivia Rodrigo. The transition to the big city was both terrifying and exhilarating for Roan, who found herself experiencing queer freedom for the first time in West Hollywood's gay bars. This newfound sense of liberation inspired her to embrace her queer identity fully and incorporate it into her music and persona.

After the release of her empowerment anthem "Pink Pony Club," Roan faced setbacks when Atlantic Records dropped her. The release of "Pink Pony Club" in 2021 marked a turning point. This empowerment anthem resonated deeply with the LGBTQ+ community, celebrating self-love and individuality. While being dropped by Atlantic Records initially felt like a setback, Roan's determination only grew stronger.

Breakthrough and Artistic Vision

Despite feeling like a failure, she refused to give up on her dreams and returned to Los Angeles with renewed determination. Teaming up with Dan Nigro once again, Roan signed with Amusement, his imprint at Island Records, and began working on her debut album, "The Rise and Fall of a Midwest Princess." The album, characterized by its bold and unapologetic sound, has garnered millions of streams and solidified Roan's reputation as a rising star in the music industry.

The pivotal moment that changed Roan’s music was in the UK for a gig called Naked in London. A drag queen called Crayola opened for her as she was getting ready and transforming into Chappell Roan, Crayola said, ‘Girl, you are a Drag Queen’. Roan said it was a life altering moment and it’s where she began to explore her queer identity within her artistry, embracing drag culture through her extravagant costumes, big hair, bold makeup and pop sound. 

For Roan, authenticity is paramount, and she refuses to conform to the norms of the music industry. Her debut album is a testament to her commitment to embracing her queerness and celebrating her unique identity. With lyrics that push the boundaries of taste and sound that blends influences from Patsy Cline to RuPaul, Roan's music stands out in a landscape dominated by safe and predictable pop.

Impact on Pop Culture and Queer Representation

Roan's rise to stardom has not only reshaped the music industry but also had a significant impact on pop culture and queer representation. By openly embracing her queerness and incorporating it into her artistry, Roan has become an icon of queer pop, inspiring countless fans to embrace their true selves unapologetically. Her presence in the music industry serves as a beacon of hope for LGBTQ+ youth seeking visibility and representation in mainstream media.

Roan's passion for her queer identity extends far beyond music. A champion for drag culture, a vibrant art form with deep LGBTQ+ roots, she actively uplifts drag performers. From featuring local queens as tour openers to donating portions of ticket sales to LGBTQ+ charities, Roan's support extends beyond the stage. She even ensures merch and ticket prices are accessible, fostering a strong connection with her dedicated LGBTQ+ fanbase. She also believes that Chappell Roan is the “drag version” of Kayleigh, blurring the lines between singer and showman. Roan's expression of drag is campy, with over-the-top outfits that take inspiration from many cultural references, bold and exciting makeup, and a confident and assured stage presence – all infused with Roan's unapologetic spirit.

Conclusion

Chappell Roan represents a positive shift in the music industry towards greater acceptance and visibility of queer artists. Despite challenges like being dropped by her record label, Roan continued to pursue her musical career. Her rise to fame, driven by her authenticity and unique music, shows that the industry is becoming more welcoming to diverse voices. Roan's journey underscores the power of self-expression and the importance of staying true to one's identity in a field that often pressures artists to conform.

shesaid.so LA Radio: Rachael Hardway

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

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

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

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

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

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


LISTEN HERE: shesaid.so LA Radio with Rachael Hardway

(July 20)


Charly Schaller: DJing with Disability

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What are your next steps?

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

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

Connect with Charly Schaller


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

Photo credit: Emilly Obeng

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Interview by ninakeh for shesaid.so


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

AVR | Photo by Alex de Brabant

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

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

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

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

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

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

3 things you can't live without in your bag

Its 2 for me: Heaphones & lip balm :)

** Interview by ninakeh for shesaid.so



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

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.


Pride Guide 2024

This guide is a resource for LGBTQIA+ people and allies. It includes events, some that shesaid.so members and Chapters are performing or hosting, as well as other events happening that you may want to check out.

The guide has helpful resources you can utilise, including Pride in the Workplace Docs and our very own Intersectionality Guide written by the late Yasmin Lajoie, to name a few.

At the bottom of the guide we have also provided a list of charities and organisations that you can support / you can go to for support. We recommend checking this list out to make yourself familiar with the awesome work these organisations are doing, and to check out if they are hosting any Pride Initiatives that you can participate in.


Open Air Party

Location: Pittaki Str. Athens, Greece

Date: June 12, 18:00 - 23:00

For the 8th year, the Prevention & Sexual Health Centre “Checkpoint” and Antivirus magazine celebrate Athens Pride with the popular Open Air Party on Pittaki Street in Monastiraki.

On Wednesday, June 12 starting at 18:00, let’s gather at the hottest event of the Pre-Pride Program and celebrate through the evening with music, dancing, free condoms, rapid tests and information on sexual health.

Info Here


Adonis Afters at Southbank Centre

Location: Part of Chaka Khan’s Meltdown Queen Elizabeth Hall Foyer

Date: Sat 15 Jun, 10.30pm

The cult queer rave celebrates Chaka Khan’s musical contribution to queer dance floors over the years, with Shay Malt, Josh Caffé, Prosumer and Hannah Holland.

Info & Tickets


Sassy: Sober Clubbing Day

Location: Club Revenge, 32-34 Old Steine Brighton and Hove BN1 1EL

Date: Saturday, June 15

A sober clubbing afternoon with huge amounts of Sass, kings & Queens themed dress and huge birthday vibes!! Amazing DJ’s, can’t keep your feet still music, very fabulous & sexy dancers, loads of glitter , tasty selection of alcohol free drinks, the best roof terrace in town, super friendly and inclusive vibe with endless amounts of sober joy.

Info & Tickets


Munich Kyiv Extravaganza

Location: Wannda Circus Freimann, Munich

Date: Tuesday, 18 June, 8 pm

The queer cabaret show from Ukraine! Immerse yourself in a world of glitz and glamour! Samantha Jackson, Bavaria’s first Ukrainian drag queen, the magician Markus Laymann and our special guest Pasta Parisa invite you to an evening with breathtaking performances by drag artists, singers and musicians! A unique fusion of drag and queer Ukrainian culture. 

Info & Tickets

**Submitted by Mirca


queer:raum x glockenbachwerkstatt

Location: Glockenbachwerkstatt. Blumenstrasse 7 80331 München

Date: June 20 at 18:00


The Munich-based artist collective is organizing a queer Summer Special at the Glockenbachwerkstatt: Drag, Concert, DJ, and the vernissage of the exhibition curated by the collective.You can look forward to a bad girl-esque DJ set by schrotflinta and a concert by the band vanGoy. The evening will also feature drag performances by our Quings Merritt Ocracy and Elliott Sage, as well as our Queens Perle and Pinay Colada, who will also host the event. Among prints, illustrations, and fashion designs by Sophie Boner, Hansinger, and lizor, Mirca Lotz/Safe the Dance will offer interactive formats on awareness and anti-discrimination.The event will be alcohol-free.

Info & Tickets

**Submitted by Mirca


Southbank Centre: NAZAR

Location: Southbank Centre, Belvedere Road, London SE1 8XX

Date: Saturday June 29th, 4pm till late

Get in the swing of summer with NAZAR, a joyous party celebrating Pride in London, featuring DJs from the SWANA and South Asian communities.

Join curators Ryan Lanji (Hungama) and Drew Demetry (Nafs.Space) for an unmissable open-air Pride party for the South Asian and SWANA communities.

Groove along to music by DJs from SWANA and South Asian communities, brought to you by NAFS Space founder Drew Demetry and Hungama founder Ryan Lanji.

It has never been more important to come together as queer bodies, not only to celebrate the sounds of our respective cultures but to be visible and proud as a community.

Get more info HERE


GAL PALS: LONDON PRIDE

Location: 11-17 Stoke Newington Rd, London N16 8BH

Date: Sat, June 29

Gal Pals is an intentional space prioritising queer women, trans and/or non-binary people and those of marginalised gender expressions. Join them for London Pride as they throw one of the BIGGEST Pride parties for lesbians, queer women, trans and non-binary people in London. They’ll be joined by some very special guests plus their resident DJs playing you the very best in female-fronted pop, hip-hop, r&b, electro and queer bangers!

Who can attend: Gal Pals are asking allies to only attend with friends who are from those communities and to consider the space they take up as the venue has limited capacity and our events usually sell out.

Info & Tickets


MOTHER Pride Block Party

Location: The National Museum of Ireland, Collins Barrack, Benburb St Dublin, Ireland

Date: Sat, June 29

On Saturday June 29th the Mother Pride Block Party is back with a bang for a spectacular party celebrating Pride in Dublin. Joining on the mainstage, Swedish rapper, singer & producer COBRAH! Viral hit and electronic music sensation Princess Superstar, a New York City-based rapper known for her eclectic blend of sample-based hip-hop, electro, punk, and swagger. A true veteran of the dance music scene with an unmistakably unique vocal talent Robin S, One of the most lauded and innovative Drag artists in the world and Ru Paul’s Drag Race Winner, Sasha Velour; a gender-fluid drag queen known for her stage spectacles, fierce activism, and boundary-breaking scholarship, and Northern Irish drag sweetheart, fellow Ru Pauls Drag Race Alumni and Dancing With the Stars 2024 runner up, Blu Hydrangea.

Info & Tickets


PON DI PRIDE X KETI KOTI

Location: Milky Way Lijnbaansgracht 234A 1017 PH Amsterdam

Date: June 29

Pon Di Pride returns to Melkweg with a Keti Koti Special. Reclaim the club with the most beautiful people, bootyshake on the floor and together create a safe space for the like-minded and like-spirited BPOC LGBTQI+ community. And with this hot line up you know its gonna be a whole vibe!

Info & Tickets


Northwest Arkansas Pride 

Location: Fayetteville, AR

Dates/Times:

  • June 28 - Northwest Arkansas Trans March, 5:30-8:30PM

  • June 29 - The FreeQueency, 7:30PM-2:00AM

  • June 29 - Northwest Arkansas Pride, 12-4:30PM; the NWA Pride Parade starts at 5PM

  • June 30 - Hi-Tea Pool Party, 12-6PM

Northwest Arkansas Pride has grown to become one of Fayetteville's signature weekends presented by NWA Equality. With consistent financial support from local and national businesses, the Fayetteville Advertising & Promotions Commission, and Mayor Lioneld Jordan issuing a mayoral proclamation every year since his election in 2009. In just over a decade, NWA Pride has grown from 200 brave participants and spectators into a multi-day calendar of events serving more than 20,000 residents and tourists and has the honor of being Fayetteville Arkansas' second-largest event, and Arkansas' largest LGBTQ Pride celebration. This year, Big Freedia will headline and share the stage with groundbreaking talent from Arkansas.

More Info

**Submitted by Robyn


THE FREEQUEENCY

Location: NOMADS WEST END, 339 N West Ave, Ste 3, Fayetteville, AR 72701

Date: June 29, 7:30PM-2:00AM

Be yourself and free yourself at the FreeQueency, the official kick-off to Her Set Her Sound's summer series featuring groundbreaking talent transforming the music scene on and off the stage.

Get set for her sound on June 29 at Nomad's West End in Fayetteville, Arkansas, meet and greet Big Freedia, NWA Pride's headliner and iconic bounce music artist, and enjoy DJ sets from DJ Ash B, hART thROB, King Honey, DJ N8Tiv, and DJ ABnormal. Together, we will cherish the vibe, hit the dance floor, and make space for the lovers of timeless worldwide music from Hip-Hop and R&B, House, Amapiano, and more.

Info & Tickets

**Submitted by Robyn


The Femme Queendom Ball

Location: Paradiso Weteringschans 6-8 1017 SG Amsterdam

Date: Sun, June 30

Mother Naimah Elle welcomes you to the Femme Queendom, where all Fem Queens reign supreme. An evening dedicated to Fem Queen Excellence! The ball is a competition where individuals and houses unite to compete in fashion, beauty, authenticity and performance categories.

Info & Tickets


Disabled, Queer & Here: Pride for Every Body

Location: Brady Arts & Community Centre, Hanbury Street, London, E1 5HU

Date: June 30th, 2pm BST

Disabled people are a huge part of the queer community, yet many queer events remain inaccessible, and many disabled queer people still feel excluded. We're changing that with a fantastic pride event bringing together the disabled and queer communities and celebrating the brilliant people who are members of both!

With a panel talk full of wonderful disabled, queer experts, thinkers & artists, as well as a cute social to connect at afterwards, we'll explore the joys of queer disabled life while also highlighting some of the issues we face. 

This really is pride for everybody - and every body.

Lineup:

  • Lucy Webster (she/her), activist, journalist & author

  • Hannah Barham-Brown (she/her), NHS doctor and campaigner

  • Alex Vasquez (he/they), content creator and activist

  • Tobi Green-Adenowo (she/her), founder of the Disabled Power Network

  • Ellen Jones (she/her), Writer, speaker, strategist for ND & LGBTQ+ advocacy

Tickets & Info


Adonis Pride 2024

Location: 60 Dock Road, London, E16 1YZ

Date: July 6th, 10am - 10pm BST

Lineup: Gideön, Grace Sands, Hannah Holland, Jeffrey Hinton, Jennifer Loveless, Kasra V, Leeon, Michelle Manetti, Midland, OK Williams, Rush Davis, Seb Odyssey, Shay Malt

Tickets & Info


3xNYX: PRIDE

Location: Club NYX Reguliersdwarsstraat 42, Amsterdam, Netherlands

Date: Sat, Aug 3 from 22:00-07:00

Get ready to dance the night away with the hottest music from our beloved DJ’s, crazy performances that showcase the rich diversity of our LGBTQIA+ community and of course the sexiest QUEER crowd that Amsterdam has to offer!

Info & Tickets


Pride by Day... IsBurning

Location: Lofi, Basisweg 63, Amsterdam 1043AN, Netherlands

Date: Sat, Aug 3 Aug & Sun, Aug 4 Aug, 14:00 - 23:00

Lineup: Secret

IsBurning celebrates Pride in the sizzling sun! Their daytime events will provide the perfect opportunity to satisfy your dance thirst, away from the city bustle right into the Lofi courtyard hustle. 

Info & Tickets


Big Pride Beach Clean

DELIVERED BY BRIGHTON & HOVE CITY COUNCIL TIDY UP TEAM SPONSORED BY BRIGHTON PRIDE

Date: Sunday 6th August

Whilst Pride don’t manage or organise events on the beach, we feel we all have a responsibility to keep our city clean, not just on Pride weekend but all year round. Our beaches are our city’s crowning glory and we are proud to have partnered with Brighton & Hove City Council Tidy Up Team to deliver the ‘Big Pride Beach Clean’ . Volunteers who complete a full session can get a free ticket to FABULOSO Sunday on 6th August as a huge thank you from us! Get your best rainbow gear and get the (sustainable) glitter on for the best beach clean of the year.

All tools and equipment will be provided by CityClean staff but bring your own gear if you wish. We will also be able to provide litterpickers and hi-viz vests for children. Only those 18 or over should book places. Any places booked for anyone under 18 must be done by a parent or guardian who will attend with them on the session. There are 3 sessions so if you want to join your friends make sure you sign up to the right session as we can’t accept transfers on the day.

Sign Up


Faith In Strangers X Adonis

Location: 17 Ethelbert Crescent, Cliftonville, Margate, Kent CT9 2DY

Date: Sat, Aug 10

This Mar­gate Pride we bring the Ado­nis crew down for a spe­cial col­lab par­ty with J.Aria, Marie Malar­ie and Ado­nis cre­ator Shay Malt. £1 of every tick­et will go to Mar­gate Pride. Kick­ing things off at 8pm — grab your tick­ets now because it’s the best week­end in Mar­gate and peo­ple ARESUPERORGAN­ISED for it! Ado­nis is known as one of the best par­ties in Lon­don, so we’re chuffed they are mak­ing their way down to Faith In Strangers on teh 10th of Aug.

Info & Tickets


KOKO Electronic: HE.SHE.THEY - London Pride

Location: KOKO 1a Camden High Street; Camden Town; London NW1 7JE

Date: Sat, Jun 29

A place without prejudice for people to be people”. Legendary inclusive outfit, HE.SHE.THEY. return to KOKO across London Pride Weekend for another action packed night of dancing and debauchery. Hercules and Love Affair, the vision of Andy Butler debut the theatre. Whether it be one of his regular visits to Berlin’s Panorama Bar or Glastonbury Festival’s Block9 or a much more intimate underground dancefloor, Butler knows how to bring the party. Kittin and Bestley make some very exciting venue debuts whilst Panorama Bar residents Tama Sumo & Lakuti return to our stage. Ready yourselves.

Info & Tickets


ImmiX at Fierte Montreal

Location: Esplanade du Parc olympique - Scène TD Accessible to people with reduced mobility. Esplanade du Parc olympique 4545, avenue Pierre-De Coubertin Montréal (Québec)

Date: Thursday, Aug 8, 2024 20h30 to 23h00

Lineup: Mitsou, Marjo, Elisapie, Pierre Kwenders, Sarahmée, Antoniya, Siibii, Rossomodo, Ouissem Belgacem, Passion Poire will take the stage. They'll all be backed by our awesome house orchestra, led by the one and only Simon Godin. It's a free event you definitely don't want to miss out on!

ImmiX, presented by ICI Musique, is a fabulous opening night in a series of main stage shows on the Olympic Park's Esplanade. It has become a Montréal festival season ‘must-see’, offering unforgettable and iconic moments to our audiences. An expansive celebration that highlights a stunning mosaic of musical styles, this show brings together allies and artists from Montréal’s communities in a one-night signature Fierté Montréal event.

More Info


Mundo Disko

Location: Esplanade du Parc olympique - Scène TD Accessible to people with reduced mobility. Esplanade du Parc olympique 4545, avenue Pierre-De Coubertin Montréal (Québec)

Date: Saturday, Aug 10 15h00 to 23h00

Artists: Crystal Waters, France Joli, Jamie 3:26, Lost Heroes, B'UGO, Heidi Lawden

After the resounding success of last summer, MUNDO DISKO, presented by Trojan, returns to Fierté Montréal, even more inclusive and unifying! This year, on the magnificent TD stage, MUNDO DISKO will be the highlight of Saturday, August 10, marking the climax of the Pride festivities. Get ready for a celebration of nightlife culture, exuberance, and legendary clubbing nights.

More Info


Body Movements

Location: Southwark Park, London

Date: Sun, Aug 25

Body Movements is a place for queer + trans art to be discovered + applauded, queer exploration to be encouraged, and queer expression to flourish. This August they move to a new home, London’s first outdoor, queer arts, dance music festival. From their roots as a diy, radical queer gathering, sprawling across 15 spaces in Hackney Wick, they are now growing into an open space amongst the trees of Southwark Park; a space that we can call our own, a space where they can develop bespoke stages with high-end sound + lighting to enhance your dance, and a space for curiosity and allyship to flourish.

More Info & Tickets


Resources

**The Ultimate Guide To Celebrating Pride Month 2023 - By Chloe Carr**

The "The Ultimate Guide to Celebrating Pride Month 2023" is a resource written by Chloe Carr. It provides a comprehensive overview of how you can celebrate Pride month, how you can host your own Pride event, how allies can support, as well as some history and education on the LGBTQ+ community.

Intersectionality Style Guide - By Yasmin Lajoie

In this style guide, you will learn more about unconscious biases you might have and how to address them through language. It might bring forth matters that you might not have considered before. All of that is absolutely normal and a part of the learning process. By embracing an intersectional language, we hope to at the very least create awareness and, ideally, facilitate equal opportunity for all.

Workplace Pride Resources:

LGBT+ Workplace Monitor Resource - Global

Trans-Inclusive Workplaces Guidelines - Global

Rainbow Migration Resources:

How to Apply for Asylum - UK

Lambda Legal Resources:

Legal Docs Archive - USA

LGBTQ+ Charities To Support/That Can Support You

This list is not extensive and we encourage you to also go out and research other charities that may be local to you or support LGBTQ+ people in other various ways.

These charities are also great to be aware of should you need support and you didn’t know there was an organization that could help.

Stonewall

Stonewall is a UK-based charity that advocates for the rights of LGBTQ+ people. They work to create a world where every person can be themselves and are committed to making a positive difference in the lives of LGBTQ+ people by empowering individuals and changing institutions.

Pride In Music

Pride in Music is a UK-based charity that aims to improve the representation and visibility of LGBTQ+ people within the music industry. They provide a platform for queer musicians, support LGBTQ+ artists, and work to create a more inclusive music industry.

Switchboard

Switchboard is an LGBT+ helpline that provides support and information to anyone who identifies as LGBTQ+ or may be questioning their gender identity or sexual orientation. They offer a safe and confidential space to talk about anything, including mental health, relationships, and coming out.

BTFA Collective

BTFA Collective is a UK-based collective of Black transgender and gender non-conforming people. They work to promote and support the health and well-being of Black trans communities through various initiatives, including advocacy, education, and community organizing.

Rainbow Migration

Rainbow Migration exists to support LGBTQ+ people navigate the asylum and immigration system. The charity’s main goals include ensuring that LGBTQ+ people are treated fairly and with dignity and that those who need protection are granted leave to remain in the UK.

Lambda Legal

Lambda Legal is a US-based organization that fights for the rights of LGBTQ+ individuals and those with HIV. They work towards achieving full equality for these communities through litigation, education, and advocacy.

Queer Capita

Queer Capital is a non-profit organization that provides support and funding to LGBTQ+ entrepreneurs, with a focus on those from underrepresented communities. They offer mentorship, networking opportunities, and access to funding to help LGBTQ+ businesses succeed.

Pride Foundation

Pride Foundation is a US-based organization that works to advance equality and justice for LGBTQ+ people through scholarships, grants, and advocacy. They focus on supporting organizations and individuals in the Pacific Northwest region of the United States.

Center for Black Equity

The Center for Black Equity is a US-based organization that works to promote equality and justice for black LGBTQ+ individuals. They aim to empower their community through advocacy, education, and leadership development.

Saffron

Saffron is a UK-based organization that supports LGBTQ+ people in the music tech industry. They provide a range of support services, including mental health resources, mentorship programs, and networking opportunities. Currently, Saffron is fundraising to stay in operation and continue providing these important resources to the community, to donate click HERE.

OutRight International

OutRight International is a US-based organization that works to advance human rights and opportunities for LGBTQ+ individuals all around the world. They advocate for change by conducting research, collaborating with partners, and engaging in advocacy at the local, regional, and international levels.

Workplace Pride

Workplace Pride is based in Amsterdam, their activities include both the Netherlands and many countries around the world. They strive to empower workplaces to create environments where all employees can be themselves, regardless of their sexual orientation, gender identity, or expression.

Trevor Project

Trevor Project is a US-based organization that provides crisis intervention and suicide prevention services to LGBTQ+ youth. They offer a range of resources, including a 24/7 hotline and online chat, to support those in need and promote mental health and well-being.

Mermaids

Mermaids is a UK-based charity that supports transgender, nonbinary, and gender-diverse children, young people, and their families. They offer a helpline, advocacy services, and various resources to help those in need.