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

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

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

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


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

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

What influences your sound? 

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

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

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

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

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

What’s your best networking tip? 

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


For more information on Filah Lah Lah

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


shesaid.so at ADE 2024

shesaid.so is excited to renew its partnership with ADE this year, offering activities that include a mentoring program for mentors and mentees of all genders as part of ADE Lab, along with a shesaid.so Pro Talk and Mixer as part of the ADE Pro program on Thursday, October 17th, powered by Ballantine’s True Music Fund.

At ADE 2024, shesaid.so will host a Pro Talk on Thursday, October 17, marking 10 years since its inception as an online community designed to bring women of the music industry together and bring awareness to the disparity that still exists in the business today.

This year’s discussion, featuring shesaid.so founder Andreea Magdalina, Spotify's Phiona Okumu, and artist Aluna, will focus on the challenges of monopolization and the underrepresentation of non-traditional electronic music genres, markets, and identities.

In addition to the Pro Talk, our presence at ADE will include a Mixer and networking session powered by Ballantine's True Music Fund, offering an opportunity for global talent and industry professionals to connect and collaborate. The Mixer will feature a live performance by Tati au Miel, presented by MUTEK Montréal, FIBER Festival, and shesaid.so, as well as DJ sets by Aluna b2b Storm Mollison.

Please note you will need an ADE Pro pass to access the shesaid.so panel and Mixer taking place at Felix Meritis. If you are a shesaid.so ALICE, NINA or ALLIES member please reach out to us to unlock your discount on ADE Pro passes.

The we.grow at ADE mentoring program will focus on supporting music industry professionals as part of ADE Lab 2024. The program will feature a total of 5  mentors and 5 mentees. Mentors will be curated from the shesaid.so community and announced on September 20th. 

shesaid.so has been working with ADE since 2017 with a focus on programming around diversity and inclusion in the music industry and a mentoring program that paired senior-level members from the shesaid.so community with mentees selected by ADE Lab. Since then, our team started shifting their focus towards programming that investigates the music business and educates its community on topics that are designed with shesaid.so’s core values at heart: diversity & inclusion, collaboration, and transparency.


shesaid.so @ ADE part of the ADE Pro Program

ADE Pro Talk

Day: Thursday, 17th October 

Time: 16:00-16:45  

Location: Concertzaal room, Felix Meritis

Title: 10 years of shesaid.so & nurturing micro-communities in global markets

Description: Join shesaid.so as it reflects on 10 years since launching its online community that aimed to bring women of the music industry together and bring awareness to the disparity that still exists in the business today. This talk aims to shed light on monopolization and the lack of support across non-traditional electronic music genres, markets or identities. How can we ensure that these values that built the business in the first place continue to represent the future of electronic music?

Speakers: Phiona Okumu, Aluna, Andreea Magdalina


shesaid.so Mixer at ADE powered by Ballantine’s True Music Fund

“Rêverie” Live AV performance by Tati au Miel presented by MUTEK Montréal & FIBER Festival

DJ sets by Aluna b2b Storm Mollison 

Day: Thursday, 17th October 

Time: 17:00-19:00 

Location: Concertzaal room, Felix Meritis

Head HERE for more info & to RSVP


we.grow at ADE Mentoring Program

we.grow at ADE 2024 is a mentorship program presented by ADE Lab and shesaid.so, a global music community of women, gender nonconforming people and allies of all genders whose aim is to create an equitable music industry for all through education, events, mentorship,  networking and job opportunities.

In 2024, the program will focus on supporting music industry professionals as part of ADE Lab 2024. The program will feature a total of 5  mentors and 5 mentees and mentors will be curated from the shesaid.so community.

For more info about the we.grow at ADE Mentoring Program, including the full list of Mentors, head HERE.


10 years of shesaid.so Mixer - Powered by Ballantine's True Music Fund

As part of our 10th anniversary, shesaid.so is hosting a Mixer and networking session at ADE 2024 - powered by Ballantine’s True Music Fund.

Join us to connect with other industry professionals and artists, plus a live AV performance by Tati au Miel and DJ sets by Aluna and Storm Mollison of Noir Fever.

Tati's performance, titled ‘Rêverie,’ is an immersive live audiovisual performance presented by the leading festival for live electronic music, MUTEK Montréal, the Amsterdam-based platform for digital art and experimental music, FIBER Festival.

Over the past decade, shesaid.so has supported women and gender-nonconforming individuals at various stages of their careers. Today, the community has grown to more than 20,000 members and nearly 20 chapters worldwide, with a mission to connect and support its members through events, mentoring programs, business opportunities, and educational content.

shesaid.so is excited to renew its partnership with ADE this year, offering activities that include a mentoring program for mentors and mentees of all genders as part of ADE Lab, along with a shesaid.so Pro Talk as part of the ADE Pro program on Thursday, October 17th, powered by Ballantine’s True Music.

** Please note you will need an ADE Pro pass to access the shesaid.so panel and Mixer taking place at Felix Meritis.

** If you are a shesaid.so ALICE, NINA or ALLIES member please reach out to us to unlock your discount on ADE Pro passes.


Photo Credit - Brandon Bowen

MUTEK Montréal, FIBER Festival & shesaid.so present: Tati au Miel (Live AV)

Date: Thursday October 17

Time: 17:00 - 17:30

Location: Felix Merites | Room: Concertzaal Room

Part of: ADE Pro Conference

Presenting partners: MUTEK Montréal (CA), FIBER Festival (NL), shesaid.so (INTL)

Tati au Miel, a multi-disciplinary artist born and raised in Montreal, presents Rêverie, a new live performance that invites the audience into a state of daydreaming or being lost in thought. This guiding concept encourages reflections on the duality between the physical and virtual, the organic and artificial, and the enigmatic dimensions of life. The performance features an interplay of live instrumentation, including bells, flutes, sensors, distorted vocals, and electronic soundscapes.

RSVP Link for updates


MUTEK Montréal (CA)

MUTEK is a leading international festival, and festival-network, for live electronic music and digital creativity. MUTEK Montréal, founded in 2000, is one of North America's rare showcases for such innovations. After 25 years, the festival has been expanded to Mexico, Spain, Japan, Argentina, Chile, and many more countries. MUTEK continues to present and support perpetual mutations and variations of contemporary digital creativity, with eyes and ears always on the future. It magnifies Montreal and its environment as a creative soul, with local talent constantly interacting with exceptional artists from all over the world. In addition to a multi-day program of immersive installations, performances and club-focused live sets, there is a broad professionals program MUTEK Forum, the artist development program MUTEK Market, and future-oriented initiatives like the Future Festivals Summit.

https://montreal.mutek.org

FIBER Festival (NL)

FIBER Festival is an Amsterdam-based meeting place for digital art, daring conversations and experimental electronic music & performance art. It was founded in 2011, with its first edition at the now-defunct club TrouwAmsterdam. Each year the festival invites a curious audience to explore a multi-sensory programme that explores the changing relationships we have with advanced and intelligent technologies and the natural environment. Through a selection of live concerts, exhibitions, audiovisual performances, artist talks and commissioned works, FIBER explores and presents new developments in sound, visual art and club culture.

https://www.fiber-space.nl/


DJ sets by Aluna b2b Storm Mollison

Date: Thursday October 17

Time: 17:00 - 19:00

Location: Felix Merites | Room: Concertzaal Room

Part of: ADE Pro Conference

Photo Credit - Maya Fuhri

Aluna (previously of the platinum-selling duo AlunaGeorge) has sold out shows around the world, amassed billions of streams, and saw her critically acclaimed 2023 album MYCELiUM notch her first Billboard No. 1 as a solo artist with the song “Running Blind,” topping the US Dance Radio charts. Born to a Jamaican father and Indian Mother, Aluna champions Black and queer voices both behind the scenes and on the stage. The genesis of her record label Noir Fever began following Aluna’s 2020-penned open letter to the dance music industry, rightfully making waves and headlines, calling out the lack of Black representation across the industry as a whole.


Storm Mollison, known for her dynamic sets blending Chicago house, disco, UK garage, and 140 breaks, has made a mark on the UK and European festival circuits, performing at Glastonbury, Lost Village, and Junction 2. Her debut EP Dirty Dance received widespread support, and her recent track "Touch Down (Feel The Rush)" with Mella Dee highlights her versatility as a producer and vocalist.



Member Spotlight: Abbey Road's Award-Winning Mastering Engineer Cicely Balston

Cicely Balston is one of London’s top mastering engineers, having established herself as a leading figure in the industry since 2013. Known for her expertise across digital and vinyl formats, she has worked with a wide range of artists and genres, including David Bowie, Nubya Garcia, Eric B. & Rakim, Usher, Simply Red, Ludovico Einaudi, and Porcupine Tree. Her talent was recognized last year when she won the Music Producers Guild's Mastering Engineer of the Year award, after being shortlisted in 2021.

Cicely's portfolio also includes an impressive range of soundtracks for film and TV, such as Harry Escott’s BAFTA-winning score for Roadkill, Self Esteem’s score for the National Theatre’s Prima Facie, and Roger Goula’s All That Breathes, which won Best Documentary at both Sundance and Cannes. Recently, she’s worked on albums for Palace, girli, Witch Fever, David Gray, and Max Richter, showcasing her versatility in working with both legendary artists and up-and-coming talent.

In this Q&A, Cicely talks about her experiences in music mastering, sharing insights into her work with various artists and her time at Abbey Road Studios.

How did you begin your career in the music industry?

I always played instruments growing up, and although I loved playing I never particularly wanted to be a performer. I remember getting interested in what was going on in the background of recordings - looking at the CD liner notes and seeing all these names and roles being listed. While I was studying (I went to Surrey University and did their Tonmeister degree) I did a placement year and was able to work at a few different studios/music companies, one of which was a really lovely mastering studio/record label called Gearbox Records and it all went from there really! 

Describe a day in your life as a mastering engineer. 

I like to get in earlyish (to give me a bit of time before the emails start kicking off), I work out what I need to do for the day, write myself a list (which gets added to if things come in) and then get to it! The job changes with every project, but if I’m starting an album I get all the mixes in, take a listen through and work out where I’m going to start, what kind of sound I think I want to be going for and check if there’s anything I need to ask about on the mixes. And then usually the day will be a blend of new projects to master, either with or without the artists or producer present, cutting vinyl master lacquers, tweaks/changes on projects I’ve already started and general admin/chatting to my colleagues/drinking coffee etc

What drew you to mastering other roles in music production?

I really like the balance between technical (knowledge of formats and equipment etc) and creative in mastering - it’s amazing how much you can sculpt the sound even when just working from a mixed stereo WAV. I also love being part of the final stages of the creative process and really helping people to realise their creative vision and getting them on their way to their music being out in the world.

You’ve had the opportunity to work on high-profile projects, such as remastering David Bowie’s back catalog. Can you share one of your favorite moments in your career?

That particular project was amazing start to finish, but within that one I think listening to the original half inch tape masters of Let’s Dance, which was the album I knew best before starting the project, is something I’ll never forget! More recently I won the Music Producer’s Guild ‘Mastering Engineer of the Year’ in 2023 and walking up to collect the award having heard my name announced was an incredible feeling and a huge career highlight. 

3 essential things you always carry with you in your bag

Earplugs! I have moulded ones from ACS and I cannot recommend them highly enough, I wear them at gigs, in pubs, on the tube - both for hearing protection but also if I’m getting a bit overwhelmed. Headphones - I have some Sonos headphones that I like, or smaller Fairphone ones for out and about. And I generally have some lip balm somewhere on my person - long hours in air conditioned rooms leaves me needing it! 

One piece of advice you'd give your younger self

I’d tell myself to work hard, but to feel more confident to do what’s right for you - sometimes turning down an opportunity that isn’t quite right actually leaves space for opportunities that fit you better to come in. 

What are you listening to at the moment?

Right now I’m in a guitar band renaissance which is involving a lot of Green Day, anything by Illuminati Hotties and there’s a new EP from Charly Bliss that I’ve been playing on repeat.



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

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

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

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

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


Mentee Sign-Up!

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


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

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

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

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


we.grow at ADE - Mentors

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

  2. Elisa Luengo - Music Programmer, Dekmantel

  3. Jessica Wilson - COO, Seven20 

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

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


Mentor/Mentee Commitment

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

  • Attend shesaid.so events if logistically possible

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


About we.grow @ ADE

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

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

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

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


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

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)