Dina LaPolt’s ‘Street Smart’ Lessons for Women in Music

Dina LaPolt is one of the most influential attorneys in the entertainment industry and the founder of LaPolt Law, P.C. - the only major law firm of its kind founded by a sole female lawyer. Since opening her firm in 2001, she’s built a powerhouse roster of recording artists, catalogues, film and TV talent, and entrepreneurs across music, fashion, and beauty.

LaPolt is widely known for her work at the intersection of law, policy, and artist advocacy. She was helpful in moving the Music Modernization Act (2018) through Congress and securing COVID relief for creators through the CARES Act (2020).

She co-founded SONA, successfully sued the U.S. Department of Justice to protect songwriter rights, and continues to advise U.S. lawmakers on legislation like the RAP Act and the No Fakes Act, fighting for protections around artistic expression and AI.

One of her first clients was the estate of Tupac Shakur and she co-produced the Oscar-nominated documentary Tupac: Resurrection.  

A longtime educator and fierce advocate for equity and sobriety, LaPolt has earned top industry honors including Billboard’s Power 100, Variety’s Power of Law, and the Recording Academy’s Service Award. Her debut book, Street Smart: Tips for Succeeding in a Man’s World, is out in October 2025.

You’ve been called fearless, a real boss, and “street smart” in every sense. What does being ‘street smart’ mean to you and when did you first realize you had it?

To me, being street smart means knowing how to hustle, how to read people, and how to survive—especially when there’s no safety net and no one coming to save you. It’s about trusting your instincts and learning how to move through the world with awareness and adaptability.

I think I first realized I had that in me when I packed up my car, left everything I knew behind, and drove across the country to California. No job lined up, no real connections just a music degree, a head full of dreams, and a gut feeling that I had to go. I wasn’t sober yet—that journey came later—but even then, I was already leaning on my instincts. I figured out how to connect with people, spot opportunity, and make myself useful—even if I didn’t have the résumé yet. That’s what street smarts are about: surviving, adapting, and knowing how to move forward even when the path isn’t clear.

You move between boardrooms, Congress, courtrooms, and creative circles. What does a typical day look like for you if there even is one?

Honestly, there’s no such thing as a typical day and I wouldn’t have it any other way. I thrive in the chaos, but I anchor it with structure where it counts. My mornings start early. I need that first hour to myself—to have my coffee, meditate, and check emails and messages. It’s how I get centered before the whirlwind begins.

After that, I usually squeeze in a workout, and then the day takes off. I might be on the phone with a member of Congress or a lobbyist in D.C., then jumping into calls with my law partners to strategize across multiple deals. A few times a week, I will have a lunch meeting with a colleague, and afternoons are typically stacked with Zooms, calls, and in-person meetings.

But no matter how busy things get, I always carve out time for my twin boys and for my recovery meetings. My kids and my sobriety that’s my foundation. Everything else runs on what I call controlled chaos. And I always begin my day with a gratitude check-in. It’s my way of remembering what really matters before the world starts pulling in every direction.

Street Smart drops October 6, 2025. What’s one chapter or lesson you think every young woman entering the music business should read first and why?

Honestly? Every single chapter. Street Smart is designed like a toolkit—and each of the ten chapters holds a different key. The lessons come straight from my own journey; raw, unfiltered, and hard-earned. From being diagnosed with dyslexia, to navigating alcoholism, to not going to the “right” law school, I’ve faced my fair share of setbacks. But I turned every one of them into fuel.

This book is for the young person who walks into the room feeling underestimated and walks out owning it. It teaches you how to navigate high-pressure environments, whether you're in a studio, a boardroom, or a negotiation table. It’s about learning to trust your instincts, sharpen your emotional intelligence, and lead with both heart and strategy.

Throughout the book, I discuss the importance of doing the grunt work and building your foundation—because without a strong sense of self, it’s easy to get knocked off course especially in business.  Chapter six dives into how to build a core skill set while also honoring your values. Any high stakes business can be chaotic and cutthroat, but if you know who you are and what you bring to the table, that’s your superpower.

This book isn’t just about survival; it’s about standing tall in your own voice and learning how to play the game without losing yourself in it.

The book’s subtitle is ‘Succeeding in a Man’s World'. What’s the most common mistake women make when trying to navigate power structures in this industry?

One of the most common mistakes I see women make when navigating power structures (especially in male-dominated industries) is believing they have to emulate the same behaviors that have traditionally held power.

There’s this pressure to “play the game” as it’s been defined by men: to be aggressive, to suppress emotion, to sacrifice authenticity for acceptance. But the truth is, our power doesn’t come from mimicking that model it comes from challenging it.

In my own work—whether it's pushing for legislation like the Music Modernization Act or all the COVID Relief legislation, I've seen the most progress happen when we lead with authenticity, collaboration, and persistence. Women often underestimate the power of their unique perspective, or they’re told it's a liability. But when we lean into who we are, instead of who we think we’re supposed to be, that’s when we actually shift the culture not just survive it.

You’ve built a firm from the ground up and stayed independent. How much of the book is memoir, and how much is playbook?

Great question, it’s actually a mix of both. Street Smart: Succeeding in a Man’s World blends personal storytelling with practical, actionable advice. The structure was inspired by a book I’ve always loved: Never Wrestle with a Pig by Mark McCormack.

That book is packed with no-nonsense insights drawn from his experience in sports and celebrity management, and I wanted to create something similar—but through the lens of a woman who’s had to fight her way into rooms, build something from scratch, and stay independent in industries not built for us.

So while Street Smart does include pieces of my own journey what I’ve overcome, what I’ve learned—the heart of the book is about giving women tools they can use, no matter what field they’re in. Each chapter delivers real-world lessons, the kind you usually only get from lived experience. It’s part memoir, part playbook and 100% designed to help women not just survive, but lead and thrive on their own terms.

You write about defusing emotional triggers and sharpening instincts. What’s one high-stakes moment in your career where that mindset made all the difference?

One that really stands out is when a client and I set out to help get a privacy law passed in Hawaii to protect high-profile individuals from aggressive paparazzi tactics. At the time, it felt like a total David versus Goliath moment. I’d never been involved in the legislative process before, let alone lobbied for something this public and yet, the issue was incredibly personal to me. In California, we have statutory protections in place, but Hawaii didn’t. And what the paparazzi were doing wasn’t just invasive it was dangerous.

We’ve seen the tragic consequences of that kind of behavior, like what happened to Princess Diana. The stakes were sky-high professionally, emotionally, and reputationally. There was a lot of media attention, and I knew I couldn’t let fear or self-doubt take the wheel. That was one of those moments where staying grounded, defusing emotional triggers, and trusting my instincts made all the difference. I treated it like any other negotiation: stay prepared, listen more than you speak, and never let your emotions do the talking in the room.

My firm actually ended up drafting the legislation, and I worked side by side with local lawmakers, pushing through a lot of resistance. It didn’t pass the first time which was heartbreaking but we stayed at the table, built relationships, and kept showing up. And that persistence ultimately helped shape how future privacy laws were developed.

That experience taught me that real progress isn’t always quick but when you pair emotional clarity with purpose-driven action, you become unstoppable.

Negotiation is at the heart of Street Smart. What’s your #1 rule for walking into a negotiation and walking out with what you want?

Be the most prepared person in the room. That’s my golden rule. Know the deal backwards and forwards—every variable, every possible outcome, every piece of leverage.

When you walk in with that level of preparation, you carry a quiet confidence that changes the energy in the room. You’re not reactive, you’re strategic. You can stay cool when things get tense, because you’ve already anticipated the pressure points.

And here’s something people often overlook: silence is powerful. Don’t rush to fill it. When you leave space after making a point or an ask, you force the other side to sit with it and that’s when the real movement often happens. Negotiation isn’t about being the loudest voice. It’s about being the calmest, the sharpest, and the most grounded person at the table.

What’s your non-negotiable for staying grounded?

My recovery. I’ve been sober since 1998, and that’s the foundation for everything I do. Without my sobriety, I wouldn’t have my career, my children, or even my emotional peace. When I start feeling overwhelmed, frustrated, or self-doubting, I pause and ask myself, What’s right in my life? That simple question helps me reset and gain perspective.

Another non-negotiable for me is acts of kindness. Helping someone else whether it’s a friend, a colleague, or even a stranger—helps me get out of my own head and back into alignment. It’s a constant reminder that my purpose goes beyond myself, and that keeps me grounded, no matter what else is happening.

You helped shape the Music Modernization Act and fought for independent creators under the CARES Act. What’s the next policy battle the industry should be preparing for?

I’m currently involved in two major legislative initiatives that I believe are pivotal for the future of the industry. The first focuses on protecting creative expression from being unfairly used as evidence in criminal cases. Specifically, the practice of using song lyrics as evidence of guilt disproportionately targets Black men and that’s something that absolutely needs to be addressed.

Along with the Black Music Action Coalition, California Assemblymember Reggie Jones-Sawyer, and Governor Gavin Newsom, we helped pass the Decriminalizing Artistic Expression Act in California. This legislation has now been adopted in several states including, surprisingly, Louisiana and Missouri. When we frame the issue through the lens of the First Amendment and freedom of speech, it becomes a bipartisan issue, which gives it real momentum. We’re now working on a federal version of this bill, called the Restoring Artistic Protections (RAP) Act, in partnership with U.S. Congressman Hank Johnson.

The second initiative I’m heavily involved in is the creation of a federal right of publicity, which is crucial in today’s digital landscape. This year, our Human Artistry Campaign comprising the Recording Academy, Songwriters of North America, the Black Music Action Coalition and many other organizations worked to reintroduce the No Fakes Act. This bipartisan bill, when passed, would establish a federal right to control one’s voice and likeness. It’s especially urgent with the rise of AI and deepfakes, as it would provide essential protections not just for public figures, but for everyday people too.

These legislative efforts will fundamentally reshape how we protect creativity and identity in the digital age. I think the industry should be preparing for these conversations to ramp up, as these issues are only becoming more urgent as technology evolves.


Connect with Dina LaPolt on Instagram | Website

Pre-order Street Smart

Jayda G and Annie Mac on Motherhood, DJing and Club Culture

Two iconic names from the dance music space, Annie Mac and Jayda G, sat down at AVA London Conference 2025 for an honest conversation about music, motherhood, the challenges of working in the industry, and going against expectations.

Jayda G opened the discussion by sharing that this was her first public event since becoming a mother, speaking openly about sleep deprivation, “mama brain,” and the physical and emotional demands of DJing while pregnant. She reflected on the lack of visibility for mothers in club culture and the importance of working in ways that feel safe and intentional.

Annie Mac spoke about how the pandemic shifted her relationship with touring, leading her to step back from late-night DJ sets and eventually launch Before Midnight (her early-ending club concept), designed for people who still love clubbing but can’t do 4 a.m. finishes.

Together, they explored how motherhood has reshaped their identities, the pressures of visibility in a male-dominated scene, and what it means to build a career that works on your own terms.

Listen to the full conversation to hear how they’re finding new ways to make it all work.


Nat Oaks on Finding Her Voice in Alternative Hip-Hop

London-based singer-songwriter Nat Oaks is gaining recognition across the alternative hip-hop and indie pop scenes. Her latest single, ‘The Way You Want Me’, released during Pride Month 2025, marks a new chapter in her sound—moving away from people-pleasing and toward self-acceptance.

Following standout performances on the Main Stage at Love Saves The Day, Little Simz’s Meltdown Festival at the Southbank Centre, and her Glastonbury debut after placing second in the 2025 Glastonbury Emerging Talent Competition, Nat is making her mark on some of the UK’s most celebrated stages.

Influenced by artists like Loyle Carner, Arlo Parks, and Little Simz, she blends alternative hip-hop, R&B, and indie pop into a distinctive, emotionally honest style. Her live shows have led to support slots with Jelani Blackman, Pip Millett, and Master Peace, while her identity as a queer artist continues to shape her work and perspective.

We caught up with Nat as she enters a pivotal summer to talk new music, live shows, and letting go of expectations.

What’s the story behind your new single The Way You Want Me’?

The Way You Want Me came during one of the last mornings of a songwriting camp in the Cotswolds. My producer MSTRY had come up with a beat from the couch, and I mumbled over it coming up with a theme pretty quickly. I found myself reflecting on the position I was currently in – just wanting to enjoy the moment and not take things too seriously. I’m always cautious of not wanting to just make love songs, so this was a fun way to approach the topic.

How do you build trust and chemistry in a songwriting session, especially when time is limited, like at a camp?

I like to dedicate good time to get to know the other writers. It’s sets an important basis which allows us to open up and be more vulnerable. It’s generally a supporting environment because everyone comes wanting to make great music. I love getting to know them because it also gives you good insight to how they come up with lyrics, which helps me to adapt my own style and be more creative.

You’ve hit some huge stages this year at Love Saves The Day, Meltdown with Little Simz, and Glastonbury. What have those live moments taught you about performance, confidence, or connecting with a crowd?

I’ve been performing for five years now, since I was 18. It’s been really fulfilling to feel my confidence grow with every live show. With each show, I get a really warm response and it solidifies in my mind that I’m good at what I do. Once I had that realisation, which only really came about this year, it’s made it so much easier to get on the stage. I now know that the crowd is rooting for you to do well and give them a good show.

Nat Oaks - The Way You Want Me (2025 Glastonbury ETC Runner Up)

Your top tip to artists trying to find their own voice

Firstly, realise that it takes time. The type of songs I wrote and recorded when I was 18 are very different to the ones I make 5 years later. You have to trust yourself that your confidence will build, with each studio session and each show, until the point you know exactly who you are. I’m still on that journey, but feel a lot closer since I give myself the space to try new things and put them out there, no matter how successful they’d end up.

Your top tip to network with the right people in the industry.

Get creative! Remember, you’re your own brand. Be excited about what you have to offer, and take advantage of opportunities to get in the room. This can be attending events, whether industry or live shows, and being open to meeting all types of people. You never know where a conversation could take you. I had a funny experience at The Great Escape three years ago, where I got up on stage to dance (horrifically) with Ants Live. Through this, I met Dellessa James, who leads the exciting black music strategy at Amazon Music with +44.

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

When I get the time to make music, I often surprise myself with the lyrics I can come up with. I’ve always known myself as a creative person, even at school writing stories was my favourite thing. Being able to write a song that others can in some way connect to, and able to put on if they’re having a bad day, is really fulfilling. And the best thing about music is the endless possibilities of songwriting. It’s exciting to always feel like you’re yet to make your best song.

What are you listening to at the moment?

I’m listening to Little Simz’s new album Lotus. My favourite songs on there are Enough and Young. Sasha Keble is also filling up my playlist as I’m loving more soulful music at the moment. I’ve been lucky enough to see both of them live recently which brought the songs to life.


Connect with Nat Oaks on Instagram

Gabriella Bongo on 'Breathe', Mentorship, and the Emotional Core of Drum & Bass

Gabriella Bongo is a writer, producer, and DJ from South London blending melodic depth with the soulful edges of drum & bass. A self-taught pianist who began producing at age nine using GarageBand, she honed her technical skills while studying sound engineering at ICMP London, where she recently graduated.

Influenced by artists like Dogger, Hybrid Minds, Rudimental, and Chase & Status, Gabriella’s music pairs sharp production with honest, lived experience. Since her debut in 2020, she’s gained early recognition through BBC 1Xtra and was selected as Hospital Records’ Women In Drum & Bass mentee in 2024. Her progress and production style stood out so strongly that Hospital offered her a full signing in March 2025.

Following her feature on Degs’ album (Spacesuit), she now makes her solo debut on the label with Breathe — the first of three upcoming singles exploring the more soulful and liquid side of the genre. With past performances at O2 Academy Islington and Hospitality In The Woods, and an appearance at Hospitality On The Beach in Croatia slated for July, Gabriella is proudly flying the flag for a new generation of drum & bass artists.

What’s the story behind your new single – ‘Breathe’ out on Hospital Records?

I think for a lot of musicians, music is an outlet - you end up expressing yourself unconsciously. Breathe was written at a time in my life where I was in a bit of a rough patch. I was having lots of panic attacks and the only way you’re taught to get through them is to breathe. I didn’t go into the session with the intention of writing about that - it just happened. I was in the studio with this amazing singer-songwriter called Sienna and without her I don’t think I’d have tapped into that.

Drum & bass rose from underground roots to a global audience, and lately we’ve seen a surge in vocal-led and more soulful cuts gaining traction. Why do you think it’s striking a chord?  How do you see your own sound contributing to that evolution?

I think people want to feel a bit more. The world is currently very fast paced and a lot of music today feels quite disposable to be honest. I think people want lyrics they can relate to and chords that make them feel sad or happy. I think my sound is for listeners across a multitude of genres. 

As someone who started producing from a very young age and now studies sound engineering, what’s one production trick or tool that totally changed the game for you?

Probably auxiliary sends. I love sidechaining my delay on vocals, doing some weird stuff to my parallel drum bus or even using a vocoder. I like how creative you can get with auxiliary channels/sends all whilst having the ability to keep a dry or less interesting version.

What’s your approach to collaborating with singers across different genres, and how do you make those pairings feel authentic?

I have to be a fan of their voice and they have to be up for trying something new - that’s the only criteria! These pairings often work and feel authentic because all they need to do is bring themselves and just do what they do best.

I never use reference tracks or try to alter their sound too much because I want it to be as original as possible - a piece of music that we’re both proud of. 

What’s one thing you wish more people understood about the work behind the scenes as a DnB producer?

I think all producers can relate to this but the session isn’t over for us once we leave the studio. I’ve been putting vocals through Melodyne in bed before, sending revisions of mixes while I’m on the go - the work is constant and sometimes not the most convenient.

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

My favourite thing would probably be that moment in a session where you think this is the best song you’ve ever made and you’ve outdone yourself. 

My least favourite thing would be writer's block.

3 things you can’t live without in your bag. 

Chewing Gum

Candy Kittens or Honey Roasted Peanuts

Water

What are you listening to at the moment?

Recently I’ve been listening to a lot of Florence + The Machine and Post Malone, very different artists.


Gabriella Bongo x TJ - Breathe (feat. Jo) - Artwork

Connect with Gabriella Bongo

Instagram | TikTok

Creating Culture in Crisis: A Conversation with Ruth Daniel of In Place of War

Ruth Daniel is a multi-award winning CEO and Artistic Director of international NGO, In Place of War, a global organisation that uses artistic creativity in areas affected by conflict, social injustice, and climate change.

Originally founded as a research project at the University of Manchester in 2004, In Place of War has since grown into a network of more than 130 creative organisations across 30 countries. The organisation supports grassroots artists and cultural leaders through training, infrastructure-building, equipment donations, and international collaborations, with the aim of transforming cultures of violence into ones of hope and opportunity.

With over 20 years of experience at the intersection of music, activism, and community development, Ruth’s career includes co-founding the independent music conference Un-Convention, performing in the Manchester band The Fall, and producing collaborative music projects involving artists such as Coldcut, Brian Eno, Bicep, and Indigenous musicians from the Arctic. She also holds an Honorary Research Fellowship at the University of Manchester and has worked as a consultant for festivals and cultural institutions around the world.

For those new to your work, how would you describe what you do across In Place of War and beyond?

In Place of War is a global organisation that harnesses the power of music, arts, and creativity to create lasting change in communities affected by conflict, climate change, and social injustice—from Greenland to Uganda, Brazil to Australia. We work directly with grassroots communities to co-develop opportunities for expression, collaboration, education, and infrastructure building. This includes donating equipment, mentoring, building music spaces, creating educational programs, facilitating international collaborations, and releasing music. Our work is supported by a global network of artists and music industry professionals who contribute time, resources, and expertise to amplify these efforts.

You've built creative projects in some of the most challenging places on Earth. What's the first thing you look for when entering a new community, and how do you build trust?

We never impose ourselves on a community—we only go where we are invited. Our approach is grounded in listening. We begin by understanding the community's unique context and identifying whether we can genuinely add value. Needs can range from building a studio to preserving indigenous music or enabling inter-community collaboration. Trust is built by being present, listening deeply, and ensuring that any project is led by the community itself. Our role is to support—not direct—the vision and leadership already in place.

Your background in music includes time with The Fall. How has being an artist shaped the way you lead, collaborate, and build cultural infrastructure?

Being a musician since the age of 10, including performing in various bands and a stint with The Fall, gave me a real understanding of the artist’s journey—its challenges, complexities, and the struggle of sustaining creativity while making a living. I’ve witnessed the industry evolve from physical to digital and now to mobile platforms. This perspective led me to create Un-Convention, a grassroots music event focused on alternative models of music-making and infrastructure. It reinforced for me that music isn't just about commerce—it’s about community, ownership, and a Do It Together ethos.

What are your top tips for artists and cultural workers trying to connect with funders, collaborators, or mentors?

Reach out—but do it thoughtfully. Research who you're contacting, understand what matters to them, and tailor your message accordingly. Make a clear, respectful ask and show your passion. The best outreach resonates because it's personal and purposeful. Also, keep it concise—people are busy, and clarity is a gift. Most of my opportunities came from reaching out to strangers with a clear vision and an authentic connection.

What does cultural resistance mean to you in 2025, and how can music still be used as a tool for justice, visibility, and change?

In 2025, amid global crises—conflict, climate disaster, rising authoritarianism—cultural resistance is more vital than ever. Music is a powerful means to bring people together, foster empathy, and articulate complex emotions that transcend language. It allows marginalized voices to be heard, challenges systems of power, and builds movements grounded in community and resilience. Music can stir hearts, unite people, and inspire action in ways that words alone cannot.

Your career spans academia, festivals, community building, and activism. What have you learned about building sustainable, multi-hyphenate careers?

The idea of a single, linear career path no longer fits the world we live in. I’ve learned to embrace flexibility and to work across sectors—from music to academia to frontline activism. This cross-pollination enriches everything. I’ve also learned the value of relationships and adaptability. With AI, the pace of change is even faster. To stay rooted, we need to focus on what technology can't replace: human connection, creativity, and collaboration.

What’s the most important thing music professionals should understand when working with grassroots or underrepresented communities?

That these communities hold immense knowledge, creativity, and aspiration. The relationship must be mutual and rooted in respect. Avoid tokenism. Build trust and invest for the long term. Ask how you can serve—not what you can extract. True impact comes from deep, sustained engagement where both sides learn and grow.

What’s your best advice for building a creative career rooted in purpose, not just visibility or commercial success?

Lead with purpose. Audiences today seek authenticity and want to support work that has meaning. Purpose can be embedded in everything—from how you structure your business, to how you use your platform, to how you give back. Whether through mentoring, volunteering, or aligning with causes, let purpose be the throughline. Over the past 25 years, I’ve seen a clear shift: more and more artists want to make a positive impact, not just profit.

Three values that guide your work, no matter where you are in the world?

  • Collaboration – Working together creates more powerful and meaningful results.

  • Trust – Earned over time, it’s the foundation for any successful project.

  • Respect – Honouring the expertise and leadership within the communities we support; we are there to assist, not to take over.

What does leadership in music and culture look like to you, and what kind of leadership is needed right now?

Leadership must be future-facing—concerned with sustainability, justice, diversity, and inclusion. It means building creative ecosystems that are fair and representative. We need leaders who are compassionate, collaborative, and able to guide through complexity. Unity, kindness, and vision are essential traits for navigating the turbulent times ahead.

What are you most excited about creating, supporting, or scaling in the next 12 months?

The Earth Sonic project is our most exciting upcoming launch. The first major project is called TAKKUUK, created in collaboration with Bicep and seven Indigenous Arctic artists, it’s a groundbreaking fusion of music, environmental consciousness, and cultural preservation. It’s one of the most beautiful and meaningful projects we've ever developed, and I believe it represents the future of how we can use art to connect, resist, and transform.


Iris Gold on André 3000, Stage Nerves, and Staying Inspired

Over the past few years, Iris Gold has carved out a distinctive space in the international music scene. From supporting artists like Doja Cat, Miguel, Blur, and Taylor Swift to collaborating with Dave Stewart and touring extensively across Europe, she has developed a reputation for her high-energy live shows and genre-blending sound.

Following the release of her latest single “André 3k”, Iris Gold reflects on the moment that sparked her long-standing admiration for André 3000 and how it evolved into a full-fledged tribute. Released just days before the Outkast icon’s birthday, the track is both a personal love letter and a playful invitation, capturing Iris’s signature mix of directness and charm.

In this short Q&A, Iris talks about finding creative balance, building long-term collaborations, and why authenticity matters more than ever in the music industry.

Where did the idea for “André 3k” come from?

When I first saw André 3000 in Outkast’s music video for “Prototype” wearing a short white wig and galactic charm. I hoped I could be his Prototype. It was a magical moment and I felt an instant connection.

You’ve supported artists like Miguel, Doja Cat, and Taylor Swift. What’s one thing you learned from being around artists at that level?

No matter how big you are there’s always nervousness involved before going on stage. I have truly enjoyed watching each of them walking out to their first song of the concert, cause that’s where their essence is most powerful. 

You worked closely with Dave Stewart on your latest album. How do you build creative partnerships that evolve over time?

I am lucky enough that Dave and mine’s collaboration is also a friendship that is never ending. I will join him shortly to record the title track for my upcoming album.

For artists balancing live shows, recording, and media—what’s helped you stay grounded and inspired?

Meditation and a lot of inner work. That’s when I get downloads from the cosmos :)

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

For me it’s about being as authentic as possible. Be bold and don’t be scared to approach people. If you don’t believe you are a rockstar - why should they?

Tips for finding your creativity on a tough day

Be present in whatever it is you are feeling and don’t try to force an energy that isn’t available. Try to never compare yourself to others. 

What are you listening to at the moment?

Outkast!


Connect with Iris Gold on Instagram | YouTube

Neijah Lanae and Arniesha Williams on Building Groove Theory Project

Groove Theory Project is a platform for dialogue around music and culture. Co-founded by Los Angeles-based singer-songwriter and editorial writer Neijah Lanae and film producer and DJ Arniesha Williams, the podcast combines informed musical analysis with personal insight, examining how sound intersects with memory, identity, and community.

Neijah’s training in vocal performance—developed at Oakland School for the Arts—and her work in editorial writing position her to approach music as both structured discipline and social commentary. Her lens is shaped by storytelling, with a focus on cultural context and lived experience. Arniesha, a DJ with a background in performance and a deep grounding in music history, brings a precise, archival approach to sound, shaped by her work in entertainment production and a strong curatorial ethos.

Together, they’ve created a platform that revisits foundational figures in music while spotlighting emerging voices. In this Q&A, they reflect on creative process, intergenerational continuity, and the courage required to speak publicly with intention.

What inspired you to create Groove Theory Project and how do you define its mission in your own words?

I think the seed of the idea was planted by a conversation we had at a music-lover’s event called Vinyl & Vino. We were there to explore and analyze Erykah Badu’s debut album Baduizm and its cultural relevance. We bonded over our love and appreciation of neo-soul and the theoretical interest of music, art, and process. Neijah later presented the idea of a podcast and we began the ideation process soon after.

Through engaging experience, including our podcast that dives into culture, research, and artistry, we aim to inspire meaningful conversations about music’s role in shaping our world. 

Describe your creative roles behind the scenes. How do you divide the vision, sound, and storytelling between you?

We partner closely on all we do. We have similar perspectives and a clear vision of what we want to do, and our individual backgrounds are a huge help in fine tuning what we put out. We both pitch creative ideas, help refine and execute them, edit, and research.

Your podcast celebrates both legends and emerging artists. Why is that intergenerational dialogue important right now?

It’s always important to know the history behind something you love. There is so much rich history in music and it always informs where it is going in the future. Speaking to legends often helps ground topics and give a broader perspective of how music has evolved and how newer artists are carrying the torch in their own way. 

Neijah, as both a singer-songwriter and editorial writer, how do you see your voice shifting between music and the written word?

As an independent musician, I have full creative control over what I write and how I express myself. My voice is entirely my own, shaped by personal experience, emotion, and intuition. In contrast, my editorial writing lives in the world of marketing, where creativity is guided by brand strategy and larger business goals. While I still bring my unique voice to that work, it’s always in service of a broader vision beyond my own.

Moving between these two spaces has taught me how to be flexible with my voice. I’ve learned when to lead with instinct and when to shape it around a specific message or audience. Having experience on both sides has been valuable in unexpected ways. Each side sharpens the other: music keeps my writing grounded in feeling, while editorial work strengthens my clarity and discipline.

Arniesha, you’re a DJ with a deep knowledge of music history and performance. How does that shape the way you curate sound?

Understanding the roots of different genres lets me tell a unique story with each DJ set. Because I know where sounds come from and how they’ve evolved, I’m intentional about how I mix genres. I don’t like to just throw tracks together… I think about the significance behind them and how they relate to the story I want to tell. I love weaving deep cuts and unexpected edits into my sets. I like to find obscure tracks and reintroduce them in fresh ways. I try to take the crowd on a sonic journey with the sounds that I curate. My style of Djing is largely about context and discovery. 

Tips for anyone who wants to start a community-centered music platform or podcast? What do they need beyond a mic?

Definitely a period of development to explore and hone in on your purpose, content structure, logistics, distribution, and overall branding. It’s nice to be intentional about starting a podcast, there are so many of them out in the world. 

What’s been the most surprising lesson from building Groove Theory so far—creatively or personally?

One of the most surprising lessons has been realizing just how much courage it takes to share your thoughts and opinions publicly. Even though the conversations on Groove Theory Project feel natural and honest, there’s still a level of vulnerability that comes with putting our perspectives out into the world. 

It’s also been a personal lesson in patience and practice. Articulating complex ideas about music, culture, or our own lived experiences doesn’t always come easily in the moment. Over time, we’ve both learned to trust our voices not just in what we say, but in how we communicate and collaborate with each other. That trust has helped us grow more confident in how we express our thoughts on the podcast, and it's made our conversations feel more grounded and intentional.

A day in your lives; what does it look like balancing independent music, storytelling, and production work in LA?

It takes lots of time management, lots of scheduling, and lots of intentionality to pour into the things that matter. We took a lot of time to develop this concept before releasing it to the world, which helped a lot with the episode shoots and editing process when it came time to execute. 

While we do have busy lives day-to-day, working on Groove Theory Project often feels rewarding because it is something we are building ourselves and feel passionate about.

Three values that ground how you approach creativity and collaboration.

Intentionality, preparation, and communication. 

What do you want people to feel or walk away with after listening to an episode of Groove Theory?

We want them to feel inspired to continue the conversations that we start, create their own dialogue, and engage in their own ways with the same topics. 


Pride Guide 2025

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

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

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


In Focus: The Trans Creator Community

“To be trans today is to be under siege. Across the world, governments are rolling back our rights — including here in the UK. In April, the Supreme Court declared that the legal definition of ‘woman’ rests on biological sex alone, a move condemned as a dangerous regression by trans communities and allies alike. “

To kick off Pride Month, @charlie_craggs spoke to some of the most exciting trans music creators working today about their influences and the legacy of the trans musicians who came before them.

Read more HERE.


The Fruit Salad Event Collective

The Fruit Salad Events Collective members have 47 events for you this pride month with only 3 days in June having no queer run events for connecting!⁠

Find everything from Zine-making, Salsa nights, speeding dating, clothing swaps, platonic co-parenting meets, Trans Saunas, parties, board game nights and so much MORE!

Visit their site HERE to see what’s on throughout Pride Month


Queer Co-Working Fridays @ the Albany, London, UK

Location: The Albany, Douglas Way, London, SE8 4AG @thealbanyse8

Date: Every Friday in June 9am-6pm

A co-working space for LGBTQIA+ creatives freelancers, students and anyone working remotely.
Every Friday in Pride month 9am-6pm
£5-£10 for the whole day
Book on their website with the code QueerCowork or book at reception on the day!

We'll also be having a lunch hour social in the CaffA of the albany which anyone can join who wants a chat over lunch
See you there!

More Info HERE


Athens Pride - 20 Years

Date: June 14 | Location: Syntagma Square | Time: 7pm

We count joy

We count losses

We count victories

We count disappointments

We count struggles

Right now, more than ever, the global situation shows us that no hard-won right is guaranteed. Instead, our rights—and our very existence—are being questioned daily. The rise of the far-right and the normalization of hate speech in political and media discourse poses a threat to all of us. LGBTQI+ refugees and migrants face growing exclusion, subjected to multiple layers of discrimination driven by racism, sexism, homophobia, and/or transphobia.

For all these reasons, our presence in public space remains an undeniable right, a historical duty, and an act of resistance against a violent public discourse that seeks to erase us.

The fight for equality is ongoing and relentless. We are here—and will remain here—to keep fighting.

On Saturday, June 14th, for the twentieth year, we gather once again in Syntagma Square, carrying with us countless moments of joy and sorrow, victories and losses that have shaped us. We join hundreds of thousands of people in this massive day of celebration, protest, and remembrance.

20 years… and we keep counting!

Info


Trans Pride LA 2025

Trans Pride LA 2025 is a celebration of our vibrant TGNBI+ community, filled with love, support, and visibility for all!

Date: Jun 14 | Time: 2:00 pm - 10:30 pm

Buy Tickets

Trans Pride Los Angeles (TPLA), the country's longest-running Pride celebration dedicated to TGNBI+ folks, is back for another year! Spotlighting the Trans*Lounge program and other services provided at the Los Angeles LGBT Center, this all-ages, free event expects 1,100+ attendees.

TPLA is hosted by the Trans* Lounge program, the Los Angeles LGBT Center’s groundbreaking education & empowerment program dedicated to serving Los Angeles’ trans and gender expansive community.

This year's event will celebrate the 10th anniversary of Trans*Lounge with award-winning author Tourmaline as our keynote speaker. 100 copies of Tourmaline’s new book Marsha will be distributed to guests during the event on a first-come, first-served basis. 

Trans Pride Block Party: 2:00PM - 7:00PM

We are shutting the street down and spreading Trans Joy everywhere! This event includes: Children & families activity area, live performances & entertainment, educational & wellness workshops, market vendors & resource fair, food vendors and a keynote moment with Tourmaline! ASL interpreters will be available throughout the festival stages & workshops. Full schedule will be posted closer to event date.

Trans Pride After Dark: 7:30PM - 10:30PM

Come let loose at the 2 Year Anniversary Party of TheyHouse. In special coordination with TPLA, where we'll turn the Center's Village Courtyard into LA's hottest nightclub! Expect a DJ, go-go dancers, tattoo artists, and tacos!

Trans Pride LA is made possible by Official Sponsors Out of Character and women-owned Curvy Couture, and Supporting Sponsor Align Surgical Associates Inc.

More Info


EuroPride 2025

Location Lisbon, Portugal | Date: 14-22 June, 2025

EuroPride 2025 will take place, for the first time, in the beautiful city of Lisbon. More than a celebration, this event is an important statement of visibility, unity, and resilience.

Join us in Lisbon to honor our achievements, continue the fight for equality, and inspire hope for a more inclusive future – Proudly Yourselves!

Info


Loving Me

Training for professionals who may find themselves working with trans / non binary people who have experienced domestic abuse.

We offer a full day training course titled Trans+ Inclusive Practice. This training is aimed at any professionals who may come into contact with trans and non binary people experiencing domestic abuse. Training is provided several times a year, organisations can book training for groups of staff or individual staff members. Training is £50 per person, for services based in Lancashire training is free. Get in touch to ask about bespoke training or for larger groups.

Please complete the training enquiry form below and a member of the team will get back to you.

Apply HERE


Celebrate a week of Pride in Brooklyn

Not to be outdone by the preceding two boroughs, Brooklyn goes big with a full week of Pride-related events and activities. It kicks off June 9 at 6 p.m. with the Brooklyn Pride Honors at the Center for New Jewish Culture. And Brooklyn Pride lasts until Sunday, June 15, when the Everybooty Tea Party goes down at BAM.

In between, there’s a comedy show at Littlefield on Tuesday, June 10, Pride Night at the Brooklyn Cyclones game on June 13 and a whole day of festivities on June 14, starting with a 5k run and ending with a Twilight Parade down Fifth Avenue between Lincoln Place and Ninth Street.

The parade starts at 7:30 p.m., and you can check out the full list of activities here.


Two Getty Exhibitions/One Fun Night

MONDAY, JUNE 16, 2025
1200 Getty Center Drive
LA, CA 90049

LA Pride is proud to partner once again with the Getty for a special Salon Series evening at the Getty Center for the opening of two exhibitions: Queer Lens: A History of Photography and $3 Bill: Evidence of Queer Lives, which celebrate two centuries of LGBTQ+ history, people, and culture.

On Monday, June 16, we’re co-hosting an exclusive LA Pride party with art, music by DJ Bradley John, light bites, hosted bar, and more.

Can’t make it? No problem. The exhibitions run through September 28! But we highly recomend you join us for the very speciak event at your hometown, world-famous Getty Center!

Free RSVP


The Outside Project: TRANS+ CRISIS HOUSING RIGHTS

Location: The Outside Project LGBTIQ+ Centre, Unit 1, 52 Lant St, London SE1 1RB

Date: 16th June 2-4pm (we will be open from 1pm if you want to come along early for a shower or a snack)

EHRC CONSULTATION COMMUNITY MEETING

What is this meeting about?

Our crew + legal friends will read through the EHRC consultation, answer questions you have and support you to respond.

Who is this meeting for?

Trans+ people who are homeless or living in temporary shelter, refuge or NASS housing.

RSVP required. Please speak to a member of our team or email QLF@lgbtiqoutside.org

More Info HERE


Queer Noise - heART and home Showcase

Location: The Space, 269 Westferry Road, London E14 3RS

Date: Wednesday 18th June, 2025

Doors: 7pm / Start time 7:30pm
Run Time: 120 Minutes (Including 20 minute interval)

Join us for an evening of poetry, zines, and powerful performances exploring home, identity, and belonging — created by our incredible LGBTQ+ community. Grab your FREE tickets now via link below.

Featuring the phenomenal Maureen Onwunali, a two-time national slam champ and Roundhouse Resident Artist!

Plus, hear real stories and housing support tips from those with lived experience.

Free tickets for LGBTQ+ community members and those on low income.

Presented by Queer Noise and Stonewall Housing, funded by the Canary Wharf Group Community Grants Programme.

(Stonewall housing is a small LGBTQ+ homelessness charity and not affiliated with Stonewall UK)

Get Tickets HERE


Consortium: Funders Fair 2025 

Location: Shoreditch (venue will be shared in a confirmation email)

Dates/Times: June 19 • 5:00 pm - 8:30 pm

Don't Miss Out! Our Free Funders Fair is Back – Bigger and Better! 🚀

Calling all LGBT+ organisations! At Consortium, we know how vital securing funding is for the incredible work you do.

That's why we're thrilled to announce the return of our highly anticipated Free Funders Fair in Shoreditch, London, on June 19th from 5:30 PM onwards (with a 6 PM sharp start!).

Last year's in-person event was a massive hit, and this year, we're building on that success! We've invited even more funders to join us, giving you a chance to connect directly with organisations eager to support your initiatives and support our sector's work.

Why This Event Is For Your Organisation:

* Direct Access: Hear firsthand about various grant programs from a diverse range of funders, specifically looking to support LGBT+ initiatives.

* 1:2:1 Conversations: This is your opportunity to engage in personalised discussions with funders. Present your organisation's needs and projects directly, forging connections that can lead to impactful partnerships.

* Networking Power: Connect with fellow LGBT+ organisations, share insights, and build valuable relationships within the sector, fostering a stronger collective voice.

This #FREE event, organised by the London Engagement Team, has been designed to bridge the gap between dedicated LGBT+ organisations like yours and the funding they need to thrive and continue their essential work.

Are you ready to secure your spot and unlock potential funding for your organisation? Don't delay! We'd absolutely love to see you there.

More Info


Upcoming Queer Capita Pride Month Events

Join Queer Capita, Amazon Music, Virgin Music Group, and The Recording Academy NY Chapter for ou their NYC Music Industry Pride Month Fundraiser! 

Celebrate Summer Friday with us on the roof at the Amazon Music HQ in NYC!

RSVP includes open bar, light bites, and music by the Amazon Music team.

We will host a live raffle for Amazon devices, with tickets distributed while supplies last at check-in.

RSVP HERE



Queer Capita x MMF x Queer Music Hangs Mixer

Tue, Jun 24, 2025 at 7:00 PM

BSPOKE/LA

439 North Fairfax Avenue, Los Angeles, CA 90036

Get Tickets

Details

Queer Capita is teaming up with our friends at Music Managers Forum and Queer Music Hangs for a fun night out! Celebrate Pride month and connect with other folks in the music industry!

RSVP HERE


Resource Fair

A free event designed to empower the LGBTQ+ community by providing vital health services, legal support, and access to social resources.

Date: Jun 20

Time: 10:00 am - 4:00 pm

Location: The Village at Ed Gould Plaza

1125 N McCadden Pl

Buy Tickets

The LGBTQ Health & Resource Fair is an opportunity to bridge gaps in healthcare access and strengthen community connections. At a time when LGBTQ+ rights, healthcare access, and social services are increasingly under threat, it is more critical than ever to create intentional spaces of support, advocacy, and empowerment. The Health & Resources Fair is not just an event; it is a direct response to these challenges.

By bringing together healthcare providers, legal advocates, and social service organizations, we are taking action to bridge gaps in access, counter misinformation, and ensure our community knows where to turn for affirming, life-saving care. Grounded in the values of community, integrity, courage, liberation, and joy, this event is a bold declaration that healthcare is a human right, and every LGBTQ+ person deserves to thrive. Rooted in values of equity and liberation, the event offers health information sessions, mental health wellness resources, legal support, access to social resources and more!

Partnering Agencies:
APLA Health
Diversity Collective
The LGBTQ Center Long Beach
The OUTreach Center
Qweerty Gamers
Alzheimer’s LA’s
Wise & Healthy Aging’s
PAWS/LA
Social Impact Center
And More!

Free parking is available, ride-share is encouraged.

Info


3xNYX: Amsterdam 750

Location: 3xnyx

Reguliersdwarsstraat 42, 1017 BM Amsterdam, Nederland

Date: Sat, June 21 from 22:00-04:00

🎈750 and still throwing tantrums!

On June 21st, we celebrate 750 years of Amsterdam with a full-blown QUEER birthday bash. Imagine a 5-year-old’s chaotic birthday party but hosted by drag goblins, glitter demons, and rave dolls. Balloons, streamers, confetti, cake… and jockstraps!

Blow out the candles, blow up the dancefloor!

Get ready for a night where childlike wonder crashes into adult queerness. Play-Doh meets latex. Juice boxes meet poppers.

Room 1: POP | Birthday Meltdowns & Glitter Hits

  • Prince Jayjay

  • Gabriell

  • More tba...

  • Hosted by Plushy Spiders & Miss Jake

Room 2: R&B | Dancehall | Bubblegum & Booty

  • Samaker

  • DJ Cleyani

  • Krioro

Room 3: Techno | House | Cake-Fueled Chaos

  • HIM

  • More tba...

🎟️ TICKETS

  • Early Access: €10,00 ➡️ Entry before 00:00 only

  • Regular Ticket: €12,50 ➡️ Priority entry until 00:00, queue applies after

  • Door Sale: €16,- ➡️ Available at the door all night

Info & Tickets


Body Swap Trans Healthcare Fund

Location: Dalston Superstore, 117 Kingsland High Street, E8 2PB

Date: Every Wednesday

Dalston Superstore’s weekly party for the trans+ community BodySwap!

Every Wednesday from 10pm, curators Harietta and Karlie Marx play Transgender Dance Music along with guest DJs, gogos and cvnty club kids. It’s the only place to be on a Wednesday night in Dalston!

This is a space for trans* power, rage, beauty, resilience, and joy. BodySwap celebrates and platforms trans* artists from diverse backgrounds, while raising crucial funds. BodySwap is by and for trans people. Each week we raise money for a trans person’s healthcare fundraiser with our door profits, so come through and party in community with the transexuals of Kingsland Road.

FREE ENTRY

Info & Tickets

SUBMIT YOUR FUNDRASIER

Fundraiser policy: We raise £200 for each trans healthcare fundraiser submitted, moving to the next fundraiser once our £200 target is reached. 

We have been able to donate £200 to 71 trans people raising money for gender affirming healthcare between January and September 2024. 

We work on a first come, first serve basis - but fundraisers for trans POC are prioritized & bumped to the top. 

Please input your info below to be added to our database of fundraisers. Feel free to submit fundraisers on behalf of other people <3

SUMBIT HERE


GOOD LAW PROJECT Crowdfunder: Fighting fund for trans rights

Funds raised will support our cases fighting for trans rights in the UK.

Ten per cent of the funds raised will be a contribution to the general running costs of Good Law Project. It is our policy only to raise sums that we anticipate could be spent on the work we are crowdfunding for. However, if there is a surplus it will go towards our work fighting for a fairer, greener future for all.

Info & Tickets


Pitchfork and Them Announce 2025 Night Out Pride Celebration and Concert

Date: June 25 | Location: NYC

Pitchfork and Them are happy to announce that Night Out is returning for Pride Month. The event takes place on Thursday, June 26, at Knockdown Center, in Queens, New York. Doors for Night Out open at 7 p.m. Eastern Daylight Time.

Performing at Night Out are hyperpop artist Underscores, left-field Minnesota rapper Dua Saleh, British rapper and producer Skaiwater, and DJs from the New York drag collective Bushwig. Tickets are available here.

Pitchfork and Them’s first Night Out event took place in 2023. The show featured Tinashe, Lido Pimienta, Zebra Katz, and others. Check out “Live Photos From Pitchfork and Them Present Night Out, a Pride Celebration and Concert.”


Reverie Wellness Retreat for Queer Women & Non-Binary People of Colour

Location: Green & Away

Green & Away C/O The Fold
Bransford, Worcestshire WR6 5JB United Kingdom

Date: June 26 • 3:00 pm - June 29 • 12:00 pm

Embark on a transformative journey with us. Reverie has been crafted with love and intention. We’ve partnered with Green & Away to create our very own Queer sanctuary where personal growth and community building intertwine.

Surrounded by lush Worcestershire countryside and nestled below the River Teme, this is a space to pause, breathe, and reconnect with what truly matters.

Rediscover the joy of stillness, connection, and the healing power of nature. Rekindle your relationship with the earth, foster deep connections with others, and leave feeling grounded, uplifted, and inspired. Come as you are—this space was made for you.

Info & Tickets


Gendered Intelligence - Trans Prides in 2025

Location: Multiple

Date: Multiple

Pride is a protest, and right now, it’s more important than ever.

Gendered Intelligence has compiled a handy list of all Trans Pride events happening this year.

Don’t see your local Trans Pride event listed here? Let them know and they’ll add it to the list below.

Late additions:
20 July - Leeds
26 July - Folkestone
6 September - Guildford

View the post HERE


Tropikali Festival 2025

Date: 29-29 June | Location: Noorderlicht Café NDSM-Plein 102, 1033 WB Amsterdam, Netherlands

Tropikali is a musical journey from Berlin to Rio, with a layover in Beirut. Tropikali features four distinct stages with a variety of music genres, including electronic Latin, global music, Balkan/Middle Eastern pop and the freshest techno and house. At Tropikali we celebrate the amazing richness of the LGBTQIA+ scene.

The festival is a space where LGBTQIA+ people can express themselves freely and without judgment. Tropikali is famous for its international crowd of progressive people who come together to celebrate music & diversity, making it a truly unique experience. SECRETO stage is back — and so is FLINTA collective The Planet!

On Saturday, June 28, they’ll take over the stage with bold, unapologetic talent. Expect power, extravagance, and nonstop energy from start to finish..

Get Tickets


DISABLED QUEER PROM!

Location: The Albany

Douglas Way, London, SE8 4AG

Date: Sat 28th June, 7-11pm⁠

How better to celebrate the transition from LGBTQ Pride to Disability Pride Month than with a big accessible queer prom?! Join us for a night of dancing, singing, celebrating and being your full fantastic self! More details to come and we'll have some *very* special performances, karaoke, space to meet new friends (and potential dates), and a playlist of pure queer joy⁠

We'll be celebrating and centering disabled members of the community but all allies are welcome! Bring your queer mates

This event wouldn't be possible without the support of @gaytimes and @restless.violets - two wonderful publications and the sponsors of our event!⁠
If you'd like to join them in sponsoring us we have a crowdfunder to help us pay ourselves for putting the event on! Links via @everybodyqueer!⁠

✨️⁠ACCESS✨️

  • Step free 

  • 2 accessible toilets 

  • Quiet room 

  • Outside space 

  • BSL interpreter 

  • Free PA tickets 

  • No flashing lights 

  • Gender neutral toilets⁠

  • Stim toys

Tickets & Info


New York Pride

Date: Jun 29 10:30 am

Location:General William Jenkins Worth Monument | New York, NY

New York Pride is an annual celebration of the LGBTQIA+ community, culture and pride in New York City. The NYC Pride March is probably the best-known of all the NYC Pride events. The Pride Parade is held on Sunday June 29th 2025 and traverses Fifth Avenue and ends in Greenwich Village. On Christopher Street, it passes Stonewall Inn, the site of the 1969 Stonewall Riots. The protests are considered to be the pinnacle of the events that led to the gay liberation movement and helped to establish LGBTQIA+ rights in the United States.

More Details


GAL PALS: LONDON PRIDE

Location: EartH (Evolutionary Arts Hackney)
11-17 Stoke Newington Rd, London N16 8BH

Date: Sat, July 5th

Gal Pals Presents... Dyke Pride! Join us for London Pride as we throw one of London's BIGGEST Pride parties for queer women, trans and non-binary people.

With over 1400 dykes under one roof we're gonna give you one big huge sapphic celebration. Featuring super sexy stage performers, a very special guest performing LIVE and of course our resident Gal Pals DJs playing you the very best in female-fronted pop, hip-hop, r&b, disco, dance and queer anthems!

We will also have a giant chillout room upstairs with plenty of seating and dark corners for DMCs and snogs

Gal Pals is a space BY and FOR lesbians, dykes, queer and bi women, transmasc, transfemme and non-binary people. Our Pride will be a celebration and centering of our communities, who are too often sidelined by mainstream Pride events. We aim to provide a safer space where you can let your guard down and feel free to get sexy and silly without fear of harassment or judgement.

Info & Tickets


Baller FC presents Slaying The Field

Location: Signature Brew, Blackhorse Rd, E17 5QJ

Date: Saturday 5th July 2025 1pm - 1am

📣 PRIDE IS COMING HOME📣

Saturday 5th July sees our biggest party yet as we celebrate Pride in London - and England and Wales launching their tournament campaigns⚽️🏟️🏆

We’ve got a 12 hour spectacular festival for y’all at Signature Brew Blackhorse Road with some of our favourite promoters and football collectives – Uhaul Dyke Rescue, Match of the Gay, Purple Pool as well as our indoor cinema where you can catch the incredible queer short footy films Solers United and We’ll Go Down in History (Truk United FC) 🎞️⚽️

You’ll be well fed by The Deaf Chefs + 7 Bone Burger food trucks 🍔 and well watered by all the Signature Brew bars plus Uhaul will be pulling up with their Mobile Dyke Bar 🚚 - they’ll be knocking out frozen margaritas 🍹with a side serving of arm wrestling 💪After nightfall, they’ll be hosting a DJ takeover in the Brewhall with Rescue icons Harietta and Daisy Gadd on the decks 🪩

Please DM us with any Qs and requirements - @signaturebrewbh Blackhorse Road is an accessible site with accessible toilets.

Info & Tickets


Adonis Pride 2025

Location: 60 Dock Road, London, E16 1YZ

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

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

Tickets & Info


2nd Annual Trans Pride 5K Run & Celebration

8:30AM SUNDAY, JULY 13, 2025
Crystal Springs Picnic Area
Pettigrew Field Griffith Park
4730 Crystal Springs Dr
Los Angeles, CA US 90027

LA Pride is please to endorse the 2nd Annual Trans Pride 5K in Los Angeles: Worried about the relentless assault on the LGBTQ community in America? Trans joy is revolutionary, so let’s come together for a day of movement, resource sharing, fundraising, and more! All are welcome and wanted!

Open to all ages and skill levels, LGBTQIA+ individuals and allies, and family-friendly!

Not into running? Celebrate at the Trans Resource Exchange, Picnic, and Raffle to soak in the fest, and raise funds for our Finish Line Grant (learn more below)

Don’t live in LA or can’t make it to the park? Grab a few friends and register for the virtual run! Post your pics, and be sure to tag @transpride5K to spread the love.

Finish Line Grant: One individual will receive the Finish Line Grant to assist them in their endeavors directed towards making a lasting impact on our Trans community and beyond.

Don’t miss out on this incredible opportunity to receive the support and financial aid you’ve been waiting for to keep on keeping on.

Applications open NOW: Apply HERE.


Cake & Chaos: The T Party

Location: The Dome, Tufnell Park, London NW5 1HL

Date: Saturday 19 July 2025 at 18:00.

Lineup: Mama Mamba Clay Taurus Broke Boy DeevaD

CAKE & CHAOS, The T Party is a fundraising event brought to you by One Night Parties and Big Fat Cabaret, and hosted by The Dome. This will be an evening of festivities to raise important funds for these grassroots organisations doing live-saving work for the Trans communities in the UK: Trans Kids Deserve Better, Black Trans Alliance, Trans Legal Clinic and Not a Phase. The night will consist of a panel talk on the current trans experience and how we can be better allies, market stalls, performances, a cake sale, a prize raffle, a BBQ in our beer garden, DJs and much more!

Info & Tickets


Dekmantel ...IsBurning

Date: August 1st, 2nd & 3rd

Pride's hottest couple just got back together!

Dekmantel Festival is continuing its long-standing collaboration with IsBurning, hosting three consecutive club nights at Lofi Amsterdam this summer.

The partnership dates back to the festival's early days, including the legendary Trouw afterparty and last year's marathon. 

All Upcoming IsBurning Events


Maiden Voyage Festival

Date: 9 August | Location: Burgess Park London

Four stages and distinct stage hosts representing the city's vibrant dance scene, capturing the essence of London's underground and showcasing it in a unique outdoor setting. High energy, uncompromising sound & production and a diverse, cutting-edge lineup.

A long-time champion of London's sound and dancefloors, Azealia Banks returns to London to headline the PXSSY PALACE mainstage at Maiden Voyage Festival after her run of sold out shows last year. This has been 10 years in the making for PXSSY PALACE. Alongside PXSSY PALACE, FOLD return to host the UNFOLD stage. Last year, we saw UNFOLD residents James Newmarch, Voicedrone and more deliver an exceptional day's programming, with a special guest appearance. Expect more of the same this year.

Adonis join the party, best described by The Face magazine: 'hypnotising techno and house beats, a bevy of bare-skin bodies romping through the night in a glimmering sheen of sweat’.

Tickets


Body Movements Festival

Date: 24 August | Southwark Park, London

body movements is a place where queer + trans art is discovered + applauded, queer exploration is encouraged, and queer expression flourishes.

from our roots as a DIY, radical queer gathering, sprawling across 15 spaces in hackney wick, we are now growing into an open space amongst the trees of southwark park; a space that we can call our own, a space where we can develop bespoke stages with high-end sound + lighting to enhance your dance, and a space for curiosity and allyship to flourish.

our dream has always been to find our bodies in spaces we never thought we would be, spaces where we are all free to connect, to grow, to express and most importantly to MOVE.

Last Remaining Tickets


Resources

shesaid.so’s Trans & Ally Resource Hub

This hub was created to support our trans and nonbinary communities and equip allies with real tools for advocacy. Below, you’ll find curated resources covering legal insights, mental health, allyship, petitions, and more.


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

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

Intersectionality Style Guide - By Yasmin Lajoie

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

Workplace Pride Resources:

LGBT+ Workplace Monitor Resource - Global

Trans-Inclusive Workplaces Guidelines - Global

Rainbow Migration Resources:

How to Apply for Asylum - UK

Lambda Legal Resources:

Legal Docs Archive - USA

Trans Charter for the Music Industry

The Trans Charter for the Music Industry (created by Saskhia Menendez) is a transformative initiative designed to create real, systemic change. It offers a set of actionable guidelines that music organisations, labels, venues, festivals, and professionals can commit to.


LGBTQ+ Charities To Support/That Can Support You

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

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

Stonewall

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

Pride In Music

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

Switchboard

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

BTFA Collective

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

Rainbow Migration

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

Lambda Legal

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

Queer Capita

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

Pride Foundation

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

Center for Black Equity

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

Saffron

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

OutRight International

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

Workplace Pride

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

Trevor Project

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

Mermaids

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

Refugee Week 2025: Spotlight on Artists with Refugee and Migrant Roots

Refugee Week is the world’s largest arts and culture festival celebrating the contributions, creativity, and resilience of refugees and people seeking sanctuary. Founded in the UK in 1998 and held annually around World Refugee Day (20th June), it has since grown into a global movement with events and initiatives taking place across the world.

To mark this year’s Refugee Week, we’ve put together a list of artists connected to refugee and migrant communities. While not all of them are refugees themselves, their work often draws from lived experiences—whether personal or inherited through family and community.


anaiis

French-Senegalese artist anaiis grew up between continents, moving from Toulouse to Dublin and Dakar before settling in Oakland, California. She studied at Tisch School of Arts in New York before relocating to London to pursue her music career.

Her work is self-reflective and created in pursuit of a collective healing. 2024 sees anaiis add to her extensive list of collaborations with a joint mini-album with Brazilian Group Grupo Cosmo, including features from Luedji Luna, and Sessa - before a stunning new solo album in Fall 2025.

How has your cultural heritage influenced your artistic practice? 

My cultural heritage plays an important role in my work in the way I present and relate, as someone who lived in my places across the diaspora and studies blackness and belonging from different cultural viewpoints, a lot of my work seeks to create visibility and to tell these stories.

I do so both visually (OPENHEARTED film + B.P.E video) and also sonically by bringing in sounds from the places which I come from. My hope is to empower and inspire people who come from a similar heritage as me. 

This year’s Refugee Week theme is “Community as a Superpower” — what does this mean to you?

I think as soon as we start to move away from principals and practices of individualism, capitalism has less of a grip on us. Community becomes our wealth, our power, our safety, our home, our sense of belonging, our abundance. Together we are able to create beyond our imaginations and to reach further without becoming emotionally or resource depleted. The traditions and practices of where I come from are very community reliant in the most beautiful way and I try to remember to put these principles in practice in my Europeanised current living.


Auclair Promo Cropped by Dark Angel Services

Auclair

British-Rwandan music and sound artist and composer. Auclair’s work explores rhythm, voice and electronica - treating everyday life like new mythologies and taking an embodied approach to exploring ideas with sound. 

Alongside a series of releases, recent commissions include In Solidarity with Striking Workers for the London Sinfonietta; Munganyinka is a Transformer for The Riot Ensemble and RUZUNGUZUNGU, commissioned by ISSUE Project Room in New York for their With Womens Work series, across these last two works I play with ideas around non-linear time, memory, ritual, grief, language/cadence, architecture and Rwandan folklore.

Collaborations include a choral reimagining of the Egba Market Revolt protest songs for Onyeka Igwe’s No Archive Can Restore This Chorus of (Diasporic) Shame; 5-channel exhibition soundscape All power emanates from the land with Jessica Ashman; scoring audio-visual and dance works with Yewande YoYo Odunubi for Calling the Body to attention; live re-score of Black Orpheus with Charlie Dark; working with pioneering Rwandan drum ensemble Ingoma Nshya; multi-sensory concert for blindfolded audience The Sensory Score; choral sound piece about bees, The Swarm; In Waves for the Roundhouse Choir; community multi-arts residency Co-Create: Walls on Walls; experimental vocal ensemble Blood Moon Project and live film score collective INVITATION TO LOVE.

Auclair’s latest EP Giramata is out now on Amorphous Sounds.

In relation to your cultural heritage, where have you drawn artistic influence and inspiration from? 

I’m dual heritage Rwandan and British and grew up in West London, around a lot of diasporas exploring new lenses and expressions for their cultures. I remember poring over rare live recordings of Rwandan and Burundian drumming and clapping songs, the whole region has an incredible artistic tradition.

I've always been drawn to the kind of complex polyrhythms, interesting time signatures and stick drum sounds I heard. I think you can hear that in the music I make. I'm so grateful that I got to learn a piece and work with Rwandan drumming ensemble Ingoma Nysha a couple of years ago in Butare. It was one of the hardest pieces of music I've ever learnt, it gave me so much, really opened my imagination and a feeling of connection.

This year's refugee week theme is 'community as a superpower' - what does this mean to you?

Oooof such a big question! So many ways to answer this, but for me it is in actions, shared values, care and finding ways to move with each other. The idea of it as a superpower is really potent right now - at a time where organising as a collective is the only way to resist systems of oppression and actualise the kind of world we want to live in.


douniah Photo Credit: Elena Cremona

Douniah

douniah is an interdisciplinary artist exploring waves of sound and poetry. Her sound is heavily influenced by Black American music, North African Gnaoua music and everything in her mom's cassette collection while growing up between Hamburg and Agadir. With a strong, reflective voice, she sheds light on herself and her surroundings, creating art that resonates and lingers—a thoughtful echo for her audience to connect with.

How has your cultural heritage influenced your artistic practice?

I grew up listening to my mother's cassettes — Gnaoua music was the most played sound in our home in Hamburg. The call and response, the repetitive sounds that make you forget about time, the eight-minute-long songs that feel like prayers — poems that are easy to repeat yet so complex in meaning. I was exposed to spiritual music, music that liberates the mind, from a young age. It had a formative impact on how I approach making music.

This year’s Refugee Week theme is “Community as a Superpower” — what does this mean to you?

I think we've unlearned that this is where our power lies — in strengthening, encouraging, helping, and loving each other. In building trust, reminding ourselves to be patient, and allowing growth to happen. Teach – learn – teach – learn. Unlearning together, learning together, and learning from one another. Community is how we will survive this madness.


Nour

Palestinian artist, DJ, and music producer whose work bridges sound, memory, and activism. In addition to crafting musical experiences, Nour is the creator of Refugee Chronicles, an ongoing documentary project that preserves the stories of Nakba survivors.

She is based in London, and is the Creative Director of Palestine House, where she curates events and workshops that foster community, deepen public understanding of Palestinian history and culture, and provide a vital space for Palestinians and allies to connect, create, and organise.

How has your cultural heritage influenced your artistic practice?

As a Palestinian, my heritage is at the heart of everything I create. My music and DJ sets are rooted in resistance, memory, and identity, often shaped by stories I document through Refugee Chronicles, which focuses on Nakba survivors. My work is a way to preserve our history, amplify our voices, and turn pain into creative expression. Whether I’m producing music or organising events at Palestine House in London, I see art as a powerful tool to connect, educate, and build solidarity.

What does Community as a superpower mean to you?

To me, community is everything. As Palestinians, we’ve survived through shared struggle, storytelling, and care for one another. Community means strength, healing, and resistance—it’s where we find power in our collective voice. Through my work, I try to create spaces where Palestinians and allies can gather, express themselves, and support each other. That togetherness is our superpower.


Nū is an Ethiopian-Australian sound artist, vocalist and live coder whose work blends non-Western musical traditions, improvisation and Afrofuturism. Using the live coding program Sonic Pi, she creates immersive sonic worlds, weaving elements from ambient, jazz, R&B and electronic music. *Live coding is the real-time programming or manipulation of code to generate sound and/or visuals. 

Nū has performed at sold-out shows across Melbourne/Naarm, supported HTRK and Floodlights, and appeared at festivals including ArtsHouse BLEED, A3 and Sonder Music Festival. In 2024, she toured Asia performing in Kuala Lumpur and at the International Conference for Live Coding in Shanghai. In May, she embarked on an international tour with shows in Sydney, New York, London, Brighton, Berlin and Hobart. Her debut EP TECHNIFRO-185 is out now via Highly Contagious Records.

In relation to your cultural heritage, where have you drawn artistic influence and inspiration from?

I grew up working at my family’s Ethiopian restaurant, Ras Dashen, where I was immersed in the Amharic language and the sounds of Ethiopian instrumental music, jazz, and ballad classics. Today, I incorporate Amharic lyrics, Ethiopian pentatonic scales, and field recordings into my work. I’m especially drawn to the warmth, emotiveness, and joy found in Ethiopian music—qualities I continually strive to infuse into my practice. 

This year's refugee week theme is ‘community as a superpower’ - what does this mean to you?  

This means everything to me. Without my community of supportive friends and family, my life and career would not be the same. Even at the very start of my music journey, it was my friends who encouraged me to share my work, they were the ones who came to all my gigs. Now, whenever I want to create something new or enrich a concept with visuals, styling, marketing, or deeper knowledge, I rarely need to look beyond my community. We share our skills with each other and, in turn, we share our wins. My community IS my superpower.


Refugee Week has evolved into an international movement, with events spanning the globe.

We Are The Many at EartH Theatre (London) on Sunday, 15th June:  https://dice.fm/event/q2gby9-we-are-the-many-festival-15th-jun-earth-london-tickets?lng=en

To discover events near you or to connect with local, regional, or international organisers, visit https://refugeeweek.org.uk/contact/national-and-regional-contacts/

Ms Mavy: Building a 100K+ Global Community with Afroplug

Harvard certified, MBA in marketing, and founder of Afroplug—a groundbreaking music tech platform with 100K+ users worldwide, built independently with no outside investment—Ms Mavy is shaping the future of Afro-diasporic music and culture.

“I’m originally from Guadeloupe and Cameroon, but I was born in France. At the age of 6, I moved back to Guadeloupe with my parents, and that’s where I truly built my first musical roots.” Her journey began with classical music—studying flute at 3 and piano at 6—eventually representing Guadeloupe in international competitions. But it was the sounds of Timbaland, Aaliyah, Afrobeats, and soulful electronics that pulled her into DJing and music production.

With a distinctive sound blending Afro, Future Beats, Latin, and Caribbean rhythms, Ms Mavy now captivates global audiences—and powers a community of creators through Afroplug. The platform has secured major partnerships with Splice, BandLab, LANDR, and more, offering tools, visibility, and opportunity to underrepresented artists worldwide

How did you get your start in music?

I started with flute at 3,  classical piano at 6 in Guadeloupe and was competing internationally representing Guadeloupewhen I was young. That world taught me discipline, but I needed more freedom. I fell in love with Local Music, Afro-Amercican Music (Timbaland, Aaliyah, Missy Elliot) lAfrobeats, hip-hop, and soulful electronic sounds—music that spoke to my identity. That’s how I naturally shifted into DJing and producing.

Your journey from a classical pianist in international competitions to a DJ, producer, and music-tech innovator is extraordinary. What was the defining moment that led you to create Afroplug?

The moment I realized there were barely any music tools that reflected our Afro-diasporic sound, I knew something was wrong. We were shaping global music culture but not being represented in the tech behind it. Afroplug was born out of that gap—with a clear mission: make our sound visible, valuable, and accessible : now we have 100 K + Clients organically in 4 years worldwide. including Producers of Beyoncé, Davido, Drake, Sean Paul & More.

What excites you most about how Afro-diasporic music is evolving on a global scale?

It’s finally being recognized for its true influence. Afro-diasporic music is not a trend—it’s a foundation. What excites me is how artists from different parts of the world are blending genres and building bridges between continents. The sound is becoming more diverse, innovative, and proud.

The intersection of music and technology is constantly shifting. What innovations or trends in music tech do you believe will have the biggest impact on artists in the next five years?

AI-assisted tools for creation are already changing everything. They help artists move faster, stay inspired, and collaborate globally. I also believe tools that support better rights management, mobile creation, and fairer revenue models will deeply shift the power back into the hands of artists.

What’s the most valuable lesson you’ve learned that artists and producers should apply to their own careers?

Be yourself and show up consistently. People connect with energy, not just products. You don’t need to be viral—you need to be real. Your audience will grow if you speak to them with purpose and give them something valuable they can feel.

For artists and producers looking to break through in 2025, what’s the one piece of advice you wish someone had given you at the start of your career?

Don’t wait for permission. Create your own lane, your own platform, and your own rules. Everything doesn’t have to be perfect—start where you are with what you have. And study how the music business works. That knowledge protects your art.

Tips for anyone who wants to get into your industry

* Learn both the creative and the business side.
* Build something people need, not just something cool.
* Protect your mental health—it’s a marathon.
* Be patient, but stay visible.
* Don’t just follow trends—start movements.

3 things you can’t live without in your bag


My iPhone, my ideas, and my MAC lipstick. That’s all I need to make things happen—wherever I am.


Afroplug: Music Tech Startup | Samples Label | Events

Founded by Maëva / Ms Mavy – DJ, Artist & Producer

Lois Hayes: From Global Music Marketing Campaigns to Sustainable Creativity

Lois Hayes began her career as a music marketing strategist, spending over a decade working on global campaigns for labels like Ninja Tune, !K7 Records, Partisan, and Decca and for artists like Bonobo, Laura Marling, Peggy Gou, Phoebe Bridgers plus many more.

Today, she works as a freelance consultant and nervous system coach, supporting artists and label teams at the intersection of creative strategy and trauma-informed care.

With a background as a classically trained musician and writer, Lois now merges creative strategy with science-based trauma therapy techniques—including Somatic Experiencing—to help artists and teams manage burnout, overwhelm, and creative blocks, while also co-creating emotionally resonant digital release campaigns.

In this Q&A, she reflects on her career evolution, what makes a campaign truly land, and why sometimes the most strategic thing you can do—is slow down.

You began in music marketing and now also support artists and teams with nervous system work — how did that shift come about, and how do the two areas connect for you?

I’ve had a non-linear path, shaped in part by early experiences in high-pressure, hierarchical work environments. As a young female executive in leadership, I found myself navigating dynamics that felt disempowering and destabilizing. At the time, I didn’t yet have the tools or language to fully name what was happening but it eroded my confidence, made me doubt my instincts and stayed with me long after. That experience ultimately became a catalyst for the work I now do in nervous system support. 

I realized that so many of the challenges I witnessed in creative industries were governed by nervous system responses. Burnout, self-doubt, perfectionism, creative blocks - these are often signs of deeper survival patterns playing out under pressure. This led me to begin a three year training in trauma resolution through Somatic Experiencing. I wanted to understand the nervous system as a foundation for how we relate, create and lead. The shift from music marketing into somatic therapy felt organic, they’re deeply connected. At its core, marketing is about communication and resonance. Now, I support artists and teams with both: the strategy to amplify their message and the nervous system capacity to sustain it.

What advice would you give to someone who's great at strategy and campaigns but struggling with creative burnout themselves?

In Somatic Experiencing, if we burnt out we are in a functional freeze pattern and pushing through with caffeine and self-flagellation will only push you further into burn out. What is needed is space and to do LESS. This takes time, patience and acceptance. Take the time off, allow the body to reset and come back with authentic motivation.

Looking back, what’s one campaign you’re especially proud of — and what made it work so well?

One campaign I’m especially proud of is the David August - VĪS album release in 2023, which was one of the final projects I led during my time at !K7 Music. It was a deeply collaborative process that allowed me to really lean into both the strategic and creative sides of my work. What made it so rewarding was the level of trust and alignment between us. David had a clear artistic vision and I was able to bring that to life through a campaign that felt intentional, emotionally resonant and visually refined. He later shared that I brought "valuable insights and artistic sensitivity" to the campaign and that I had a unique ability to understand and amplify his vision. That kind of feedback meant so much to me, my biggest priority is always making sure the artist feels truly seen and supported throughout the campaign process.

What do you think makes a music campaign truly cut through today, especially in a crowded digital landscape?

In my work, what is most important is finding ways to merge strategic clarity with artistic sensitivity in a way that feels novel and viscerally compelling - as much as the music itself. I deeply listen to the artist’s or brand’s vision and translate creative concepts into campaigns that resonate emotionally. Marketeers need to have a deep understanding of storytelling, aesthetics and audience psychology - and have an innate trust in giving up the rulebook sometimes and work intuitively. I believe nervous system work is essential to facilitate this kind of expansive approach and expression.

As someone who now works freelance — how did you know it was time to step away from in-house roles?

It was a slow, steady recognition that the structures I was working within weren’t aligned with the way I wanted to live, create, or grow. Freelance life definitely comes with its own challenges: financial instability, loss of institutional support and the weight of being a solo entrepreneur, but it has allowed me to actively shape work that feels regenerative and future-facing for myself and the people I work with as a service provider, disruptor and thinker.

For someone wanting to get into music marketing today, what skills are essential that maybe weren’t 5 or 10 years ago?

I think engaging with AI tools is especially relevant right now, they’re reshaping how we ideate, create and communicate in the marketing space. But beyond that, having a wide frame of reference is essential. Don’t limit yourself to just studying music campaigns, immerse yourself in art, literature, film, subcultures. The more expansive your inputs, the more thoughtful and resonant your work will become. Also, having some foundational design or copywriting skills can take you a long way, it allows you to be more agile and self-sufficient, especially in fast-paced or lean team environments. And finally, don’t underestimate the importance of rest.

Tips for anyone who wants to get into your industry.

My biggest tip for anyone looking to get into the industry is to make sure the work itself is truly a fit for you. It’s easy to get caught up in the allure of working in music, but it’s crucial to understand the specific role you’re stepping into. I've seen too many people burn out or become disengaged in positions that weren’t aligned with their strengths or passions, and experienced this myself in ways. Take the time to really evaluate the work and ensure it’s something you’re genuinely excited about.


Connect with Lois Hayes on LinkedIn | Website | Free Masterclass

Dornika: The Iranian Artist Turning Heads with Single 'Baggy Jeans'

Dornika is a queer Iranian-American emerging pop artist creating music that’s playful, powerful, and full of personality. You might already know her from tracks like Bush, Miniskirt, and Nobody—songs that put her on the radar for her raw lyrics and genre-blurring sound. Now, she’s back with her latest single Baggy Jeans, out April 17.

Blending music, fashion, and performance, Dornika uses her work to explore identity and challenge expectations around gender, beauty, and how we express ourselves. Her sound is a mix of dark electronics, hyperpop, and club bangers—always with a bit of edge and attitude.

She wrote Baggy Jeans during her first US tour, inspired by how people responded to her outfits on the streets of New York and LA—a mash-up of Berlin and NY streetwear that turns heads and sparks conversations. The track celebrates taking up space, especially for women and queer people in scenes where cis men have long been the focus.

Since her debut during the pandemic, Dornika’s played over 100 shows across Europe, including Pride events in Berlin, Munich, and Rotterdam, and festivals like Lollapalooza and Fusion. She’s also teamed up with brands like Spotify and Netflix—but Baggy Jeans is just the beginning of what she’s got planned this year.

We caught up with Dornika to chat about the story behind the song, her love of streetwear, and how she’s creating her own lane—one baggy fit at a time.

Baggy Jeans is rooted in your personal experiences with fashion and identity. Can you tell us about how fashion has helped you explore self-expression over the years?

Fashion has been a part of my life since I was very young. I wanted to be a fashion designer since I was 7 and had a sketchbook full of designs! I feel like growing up in Iran, where women’s bodies are controlled so heavily, fashion is a big part of resistance. Even with the restrictions people still find ways to be creative and individual and you can see that in the progression of fashion over the last decades. Being able to wear what you wantand 

You’ve talked about how people reacted to your style while walking through New York. What did those moments mean to you, especially coming from a background where your choices were often questioned?

I feel like I’ve always turned heads when I’m in a fit wherever I go. Even while I was in Tehran and had to wear hijab and had more limitations, I still put my own flavor on things and managed to make it my own.

I just love to experiment and play around and that’s ultimately what fashion is about! I guess I had a high expectation of New York fashion and was a bit anxious of how my style would be received but the compliments and attention made me feel affirmed in my creative energy and gender expression.

I felt lots of love from New Yorkers and I love how outwardly expressive people are with compliments. Something that I’m not so used to in Berlin hehe

The way you describe your experience in New York — being seen, being affirmed — speaks to something a lot of queer and trans people search for. What would you say to those still searching for that sense of freedom?

I would say don’t be afraid to experiment and try different things on (whether it’s clothes, pronouns or mannerisms) and look for what gives you a spark or a sense of comfort and keep rolling with that. It’s scary sometimes but it’s important to decenter other people’s approval and focus on the inside, trust that wherever you land and feel good in will bring you love and acceptance, even if it’s not from the norm. It first starts with you finding and accepting yourself! 

As someone who works across music, fashion, and visual art, what have you learned about the power of using multiple forms to tell one story?

I feel like for me it’s not just about the music, but about building a world around a concept and telling a story that people can get fully immersed in. Even the music is a tool for embodying the concept I have in mind and the purpose that it serves. When I write a track, I get visions from the beginning about what the visuals could be or the cover or my outfit. I’ve never just felt like doing one thing in life and so it’s very fulfilling for me to be able to express myself in all the ways that I find inspiring. 

What’s a music rule you love breaking?

I grew up with classical music and a lot of judgement surrounding pop music, as it’s seen as somehow inferior. I love breaking the rules of what is considered proper art or high level. I allow myself to be messy and sloppy and cringe and embracing my weird dorky brain when it comes to the lyrics. This has been a journey I’ve actively been on with my music and it’s been very freeing. 

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

My most favorite parts are coming up with the ideas and bringing the music to life in the studio. My least favorite parts are recording vocals and the anxiety and vulnerability of releasing the music. 

What’s your best networking tip?

If someone you admire and want to work with doesn’t notice you or respond to you at first, be patient and keep growing. Eventually they will. 

What’s one piece of advice you’d give to artists trying to break the mold?

Challenge yourself and be intentional about your art

What are you listening to at the moment?

Earth is Ghetto by Aliah Sheffield


Connect with DORNINA on Instagram | More Links

R&B Artist Nia Chennai Returns With Single Give It Up, Featuring Ella More

Nia Chennai is an emerging R&B artist blending soulful melodies with honest, introspective songwriting. Born in South London and raised in Surrey, Nia grew up surrounded by a wide range of musical influences that shaped her sound and storytelling. She began writing original songs and posting covers online, drawing inspiration from personal experiences and the world around her.

In November 2023, Nia released her debut EP Diary Is A Waste Of Paper, which earned praise for its raw, relatable themes. The project explored love, heartbreak, and self-discovery through emotionally rich production and powerful vocals.

Nia now returns with Give It Up, a new single featuring fellow R&B artist Ella More. The track reflects on the clarity and strength that come with walking away from what no longer serves you.

“Give It Up” has such a strong message about walking away from what no longer serves you. Can you tell us a bit about where your head was at when you wrote it — and how that collab with Ella More came to life?

I wrote “Give It Up” when I’d fully come out the other side of a breakup, that point where you’ve found yourself again. So when me and Ella got to chatting, relationships came up naturally, and we both connected on that feeling of finally having the strength to walk away. It was something we’d both lived through, and I think that honesty really shaped the track.

We’d been wanting to work together since meeting at a show earlier that summer, so when she came into the session, it just flowed. Nothing was forced, we kept it real and got stuck in. I think you can hear that chemistry in the song.

You’ve been championed by platforms like COLORS and Earmilk, and worked with brands like Lemonade Dolls. Has anything surprised you about how your music has connected with people so far?

Honestly, when someone goes out of their way to tell me they love a song, especially in real life, and I can feel their excitement, it reminds me how many people I actually connect with. It’s mad! This year, one supporter even started a fan account (shout out to Holly — she’s a real one).

The fact that I’m just writing from my own experiences and people feel seen through that? That means so much. And getting support from platforms like COLORS is sick, I’d love to perform for them one day, so them taking notice shows I’m on the right track. Plus, it proves they’ve got good music taste, lol.

What’s one thing that’s helped you stay true to yourself as your career starts to build — whether in music, branding, or just life in general?

I’ve learned to check in with myself, how I feel, my vision, and what I see for myself in my career before I say yes to anything. I’ve actually been reading The Artist's Way, and it’s really helping me understand myself and what I want better. Whether it’s a song, a collab, or even a photo shoot, I always ask: “Does this feel like me?” Not every opportunity is the right one, so staying true to my path is the most important.

A lot of early-stage artists struggle with building confidence or feeling “ready.” What’s something that’s helped you push through those doubts and keep going?

If I waited to feel “ready,” I wouldn’t have released anything or done half the things I’ve done. You just have to be a little delusional and back yourself and then learn as you go. Every song, every performance, every awkward moment has helped build my confidence bit by bit. I’m still learning every time. It’s not about being fearless, it's about doing it anyway.

There have been times I’ve felt sick before going on stage, come off shaking, or dealt with serious imposter syndrome while creating and yet I still have this burning desire to keep going. One thing that keeps me going is a pic of baby nia on my Lock Screen I . I look at it and think, “I’m doing this for you, girl.” 


You’ve built a sound and brand that really feels like you — what advice would you give to artists trying to figure out who they are creatively and how to express that?

Try everything, but listen to what sticks. It took me some time to realise what felt natural and what didn’t, and that’s part of the process.

It can get really confusing comparing yourself to your peers or the greats before you. But most of the time, the real you comes naturally, that “natural sauce.” That’s why it feels wrong when you try to copy somebody else’s vibe. Don’t be scared to lean into your own.

You’re meant to stand out, so don’t hide. God didn’t give you this dream for no reason. Dig deep, get to know yourself, and show up for yourself every day!

Nia Chennai: Instagram & Tiktok | Listen to Give It Up

Ebonie Smith: From Engineering Cardi B’s 'Invasion of Privacy' to Founding Gender Amplified

Photo Credit: Matt Fajardo

Ebonie Smith is a celebrated music producer, audio engineer, and singer-songwriter based in the vibrant hub of Los Angeles.

With an impressive track record in the industry, she most recently served as senior audio engineer and producer at Atlantic Records, contributing to iconic projects like the Broadway cast album of Hamilton, Janelle Monáe’s Dirty Computer, and Cardi B’s Grammy-winning Invasion of Privacy.

As Co-Chair of the Producers & Engineers Wing of The Recording Academy, Ebonie is a driving force for innovation and inclusion in music production. She’s also the founder and president of Gender Amplified, a nonprofit she launched in 2007 that’s dedicated to celebrating and empowering women and gender-expansive music producers.

With a master’s degree in music technology from NYU and an undergraduate degree from Barnard College at Columbia University, Ebonie brings both academic rigor and real-world experience to everything she does — making her a true leader and inspiration in the music world.

In this Q&A, we sit down with Ebonie to explore her journey, her mission with Gender Amplified, and her vision for a more equitable future in music.

How did you get your start in music?

I got my start in music through a deep love for sound and storytelling. From an early age, I was drawn to instruments and the way music could shape emotions and experiences. My formal journey began with playing piano and experimenting with production tools, eventually leading me to engineering and production. That curiosity and passion set the foundation for everything I do today.

How did your experience at Barnard spark the vision for Gender Amplified, and what’s changed most since you started it in 2007?

Barnard was where the vision for Gender Amplified took root. Studying in an environment that emphasized women’s empowerment made me keenly aware of the disparities in music production, particularly for women and non-binary creatives. What started as my thesis project became a movement to carve out space for underrepresented producers. Since 2007, the industry has evolved—there’s more visibility and conversation about gender equity—but access and real opportunities are still a challenge. Gender Amplified has grown into a platform that not only uplifts but actively creates opportunities for the next wave of producers.

‘In Bloom’ is Gender Amplified’s first official EP — what did you want it to represent for your community, and what are you most proud of?

With In Bloom, I wanted to showcase the power of collaboration and the brilliance of gender-expansive producers. It’s a sonic statement that says, “We are here, we are creating, and our work deserves to be heard.” I’m most proud of how it brings together different voices and styles while staying true to the mission—elevating talent that often goes unrecognized in mainstream spaces.

You've built space for gender-expansive producers to thrive — what advice do you give to those trying to break into the production world right now?

My advice is to start where you are and build with what you have. Learn your tools, experiment fearlessly, and stay consistent. Community is everything—find your tribe, collaborate, and support others. Most importantly, own your sound and trust that there’s a place for your voice in this industry.

What’s the biggest misconception about what a music producer actually does — especially when it comes to women and non-binary creatives?

One of the biggest misconceptions is that producers just press buttons or that they play a passive role in music creation. In reality, a producer is the architect of a song’s entire sound. They shape the arrangement, guide the artist’s performance, and bring a vision to life. When it comes to women and non-binary producers, there’s often a false assumption that they aren’t as technical or hands-on, which couldn’t be further from the truth.

You’ve balanced major label work with grassroots organizing — how do you navigate both worlds and keep your mission grounded?

It’s a balancing act, but for me, the two worlds inform each other. My work with major labels gives me insight into industry structures, while grassroots organizing keeps me connected to the people who are shaping culture from the ground up. Staying grounded comes from always returning to the why—am I creating access, am I opening doors for others, and am I using my position to uplift? That’s what keeps me aligned.

The CTRL Room Series helped birth some of the tracks on the new EP — what makes these camps so powerful for creative development?

The magic of the CTRL Room Series comes from the energy of the room—when you bring together talented producers, artists, and songwriters in a space that fosters experimentation, incredible things happen. These camps remove the pressures of the industry and allow creativity to flow organically. That freedom and exchange of ideas are what make them so powerful.

As Co-Chair of the Recording Academy’s Producers & Engineers Wing, how are you working to create more equity in the industry from the top down?

One of my focuses is ensuring that policies and initiatives prioritize inclusion, not just in conversation but in real decision-making. That means advocating for fair crediting, increasing representation in studio spaces, and pushing for more educational resources that level the playing field. It’s about making sure that underrepresented producers have a seat at the table and the tools to thrive.

Can you share a moment in your career that affirmed you were on the right path — even when it wasn’t easy?

There have been so many moments, but one that stands out is seeing an artist or producer I’ve mentored go on to achieve success. When someone tells me that Gender Amplified, a studio session, or a piece of advice I gave changed their trajectory, it’s a reminder that this work matters. Those moments make the struggles and setbacks worth it.

What do you want the next generation of producers to believe about their power and their place in the music industry?

I want them to believe that they belong. Their ideas, their creativity, and their unique sound have value. The industry is shifting, and there’s more room than ever for new voices to redefine what music sounds like. The key is to own your artistry, build your community, and never wait for permission to create.


Website: Gender Amplified | Ebonie Smith on Instagram

Cydnee with a C: Genre-Bending D’n’B and K-Pop

Atlanta-born, LA-based artist Cydnee with a C is redefining the intersection of alt-pop, R&B, and liquid drum ‘n’ bass with her genre-bending new EP POV, out now via TH3RD BRAIN. Led by standout singles At Night, Love You Down, and Spend It, the six-track project explores themes of love, longing, and late-night introspection, delivering what SNIFFERS calls her “most vibrant and magnetic form.”

Cydnee first gained recognition in 2017 through features on Trippie Redd’s A Love Letter To You 2, before finding her voice as a solo artist with her 2023 debut Confessions Of A Fangirl. That release—a heartfelt ode to fandom culture—blended Jersey Club, R&B, and D’n’B into a sugar-rushed sonic palette, earning praise from Paper, Nylon, and Bandcamp, and racking up over 3 million streams.

Now, with POV, Cydnee continues to expand her kaleidoscopic sound, pulling from her deep love of K-pop and underground electronic music to craft immersive, emotionally charged pop at high BPMs. The rollout—complete with surprise pop-ups, exclusive merch, and upcoming performances in LA, New York, London, and Seoul—cements her as one of the most exciting new voices on the global alt-pop and drum ‘n’ bass scene.

What’s the story you’re telling with your new EP POV

My first dnb project was called confessions of a fangirl an POV is the perspective of a fangirl that loves music that makes you feel good. Hence my love for kpop cause it makes you feel good! I take stuff like forgiveness, heartbreak, and toxic situations and make it into sounds and feel good. Positive perspective.

If someone is hearing your music for the first time, what’s the one track they should start with to really understand who you are as an artist?

Cry Alone- its my first ever dnb record and i feel like so many can relate to the happy sad feeling that song has.

Your music blends K-pop influences with drum ‘n’ bass and R&B in a way that feels fresh and unexpected. What elements of K-pop inspire you the most—whether in production, performance, or the connection with fans?

I love that kpop takes serious and dope concepts and make them into a whole feel good experience. I love the melodies and concepts and i like to make my songs with those things in mind. And for the songs to feel good even if someone doesnt know what im saying.

Drum ‘n’ bass has a rich underground history, while K-pop thrives on global fandom. You sit at the intersection of both—where do you see the future of music and global pop colliding?

I see myself touring internationally and collaborating with kpop artist! I can see a record with myself, a hispanic artist, and a kpop artist! That would be so worldly and cool!

When you’re in the studio, what’s the one thing that always anchors your music, no matter the genre?

I love to freestyle and thats the number thing i always go by when creating. Because when you freestyle what comes out is real and original like its from god. lol.

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

I engineer and mix all of my music and i love getting free and creating but sometimes the mixing becomes too overwhelming.

3 things you can’t live without in your bag

airpods, lip gloss, snacks 

What are you listening to at the moment?

All i listen to is my own music and kpop its crazy. Le sserafim and Jennies new album is always on repeat


Follow Cydnee with a C

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Ana Marković: Steering EXIT Festival's Global Influence

Photo Credit: Sofija Palurović

Ana Marković is a classically trained pianist turned International Marketing Manager at EXIT Festival, one of Europe's leading music festivals. In her role, Ana spearheads global marketing initiatives that bridge artists with international audiences. Her strategies and partnerships ensure EXIT's continued prominence in the live music scene.

Additionally, Ana is the CEO and Founder of TAKT, an independent concert promoter that blends classical music with contemporary art forms. TAKT serves as a creative laboratory, challenging traditional concert norms by incorporating elements of dance, theater, fashion, and film. This approach allows artists to experiment and push the boundaries of live performance.

With a career that spans performance and strategic innovation, Ana is committed to redefining the live music experience, fostering unique connections between music, audiences, and culture. Her work not only entertains but also pioneers new ways of experiencing art and sound.

How did you get your start in music?

Music has always been the core of who I am. I started playing classical piano when I was seven, and that was the beginning of everything. My studies in Vienna allowed me to dive deep into both classical and contemporary works, exploring the full range of sound and expression. Over the years, I became fascinated not just by the performance itself, but by everything behind the scenes — how a show comes to life, how it’s shaped and brought together, and how people connect with it.It became clear that it’s not just about the music, but the process of crafting an experience that resonates and makes an impact.

For me, it’s all about culture and connection. Whether it’s a techno set, a contemporary music theater piece, or a mainstream concert, it’s all music. It’s about creating and sharing something that moves people, no matter the genre or platform. I love being part of both sides — the creation and the curation — and bringing them together to leave an unforgettable imprint.

EXIT Festival has grown into one of Europe’s most influential music festivals, attracting global audiences while maintaining strong local roots. What strategies do you use to ensure the festival stays relevant and competitive in an ever-changing festival landscape?

EXIT was born out of activism, and that spirit still runs deep in everything we do. But staying relevant means we’re constantly evolving. We’re not just booking big names — we’re creating cultural moments that connect, that speak to the times, and that feel emotionally real for the people who come.

We stay rooted by listening — to our community, to global movements, to the energy of the generation that’s showing up now. From how we curate stages to how we shape campaigns around freedom, mental health, or sustainability, the goal is to build something that resonates across borders but still feels personal.

We don’t chase trends — we build bridges. Between genres, cultures, and ideas — from techno legends to emerging regional voices — all coming together inside this iconic 17th-century fortress. The setting alone creates something you simply can’t replicate anywhere else. The magic happens right there, within those walls, where people from all over the world meet, and something unforgettable takes shape.

As someone leading international marketing efforts, what are the biggest challenges in promoting a European festival to a global audience, and what innovative marketing tactics have worked best for EXIT?

Marketing globally means navigating a lot of nuance — different behaviors, timing, communication styles. Understanding the psychology behind each market is key. We focus on building long-term, meaningful relationships with people we trust — whether that’s local ambassadors, artists, or teams in each region — so that our message feels real and aligned.

The most effective strategies are often the most human ones. We prioritize authenticity, and we tailor everything — from visuals to language to when and how we show up — to feel personal in every market. It’s about creating something people want to be part of, not just selling a ticket.

Sustainability is becoming a key focus in the festival industry. How is EXIT Festival integrating eco-friendly initiatives into its operations? What steps are being taken to minimize the festival’s environmental impact while maintaining its large-scale production?

Sustainability has become an important part of how we think and work at EXIT. It’s not just about ticking boxes — it’s something we try to build into the culture of our festivals. Through initiatives like Green R:Evolution and the Green EXIT platform, we’ve been involved in recycling programs, zero-plastic pilot projects, awareness campaigns, and international collaborations like REMEDIES and INSPIRE, which focus on reducing plastic waste and protecting water ecosystems. We’ve also experimented with renewable energy tech, like solar-powered installations at EXIT Camp, and we’re part of the Green Deal Circular Festivals group. It’s a process, of course — but the intention is clear: to do better each year, and to inspire our audience to join us in that.

Tips for staying grounded on a tough day.

Honestly, we’re constantly overexposed — too much noise, too much pressure, too much everything. So for me, it’s about clearing space. Taking time to be alone with my thoughts, breathing, walking, just disconnecting a bit. Those small reset moments really help.

And then there’s people—spending time with those I trust, the ones who recharge me. That human connection is everything when everything feels too much.

Tips for anyone who wants to get into your industry.

Entering the music and festival world takes passion, empathy, and a lot of adaptability. Networking is important — of course — but more than anything, you have to build genuine relationships, not just collect contacts. People remember energy, intention, and how you show up.

And be open. Most people don’t realize just how many roles exist in this industry — it’s not just performing, promoting, or managing artists. There’s strategy, content, curation, partnerships, community-building, and so much more. Sometimes the role that ends up being your thing is one you didn’t even know existed. So give yourself the freedom to explore and evolve — it’s all part of finding your place.

What are you listening to at the moment?

Honestly, my playlist kind of mirrors my career path — it jumps between worlds. I’ll go from hardcore techno to heavy metal, then land somewhere in old-school salsa or some soul or funk. It’s never really about genre — it’s about energy.

Right now, I’ve been playing the new album from Serbian artist Buč Kesidi on repeat. At the same time, when I want to shift gears completely, I put on Sleep Token, their music really fuels my day and gets me in the zone

Mychelle: From Busking to 2.5M+ Streams and Debut Album "Good Day"

Hackney-born singer-songwriter Mychelle has just released her debut album Good Day, out now via FAMM—the independent label known for launching the careers of Maverick Sabre and Jorja Smith. The album captures a turning point for Mychelle as both a writer and performer, reflecting on difficult experiences and transforming them into soulful, uplifting songs.

A standout voice in UK soul and R&B, Mychelle’s rise has been steady and self-made. She first made her name busking on the streets of London, before being spotted at London Bridge and signed to FAMM. Since then, she’s gained critical support from Clash, The Metro, Evening Standard, and Dork, as well as airplay from DJ Target, Adele Roberts, and Jamz Supernova. Her collaboration with ENNY, Forbidden Fruit, has racked up nearly 2.5 million streams, and she’s released a string of acclaimed EPs, including Closure, Someone Who Knows, It’s Not You, It’s Me, and Me & Gaz.

Live, she’s played major festivals like Montreux Jazz Festival, Boardmasters, and Into the Great Wide Open, supported Michael Kiwanuka and George Ezra, and is now preparing for a packed summer—joining Jorja Smith’s UK tour and heading out on her own 10-date headline tour across Europe.

We caught up with Mychelle to talk about the making of Good Day, how she overcame creative blocks, and why this album feels like a full-circle moment.

What’s the story behind Good Day — is there a thread that runs through the album?

The final track on the project is called “Good Day” and when I was going to the studio the day I wrote it, I was having a string of bad days. When I left the studio, I was so excited by the song it literally turned in to a good day for me. When writing all of these songs it was the same feeling.

Good day is also a way of saying good bye and in most of the songs, i’m talking about letting go and saying good bye to the things not serving me. Being able to do that is always a good day too. 

“Seasons” came to you while on your way to play basketball — do you often find inspiration in those in-between moments, when you’re not actively making music?

All the timeee! I love making music when i’m cooking, walking, cycling, when i’m shopping - like you said the in-between moments. That’s when i’m not overthinking I guess. Making them in to a song is another story. Happy I managed to create Seasons and Sweet Nothings out of those moments though. 

You’ve said you used to be quite shy, but still chose to busk for years across London. What gave you the push to start — and what kept you going?

I started because I like to live by the quote ‘Luck is when preparation meets opportunity’ so in my mind if I’m out singing in public, frequently practicing my craft when opportunities come I will be ready for them. I feel like this has definitely served me well in my journey. 

What helps you stay grounded and focused, especially when the music industry can sometimes feel overwhelming?

Writing things down, working out/ going for a run & romanticising my life in tiny ways. 

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

My favourite thing is singing. I love to sing. Like the actual act of singing! I love it so much. 

Writer’s block is my least favourite thing. I hate it when I’m stuck and then I start over thinking. That then usually leads to me feeling like I’m not good enough and that’s not the one.


Mychelle on Spotify Instagram & TikTok 

Camille Guitteau: Building a Plastic-Free Music Industry with Bye Bye Plastic

Camille Guitteau is the co-founder of Bye Bye Plastic Foundation, a disruptive non-profit that helps the music and events sector transition away from single-use, fossil-fuel plastics.

Founded five years ago alongside BLOND:ISH, Bye Bye Plastic operates across Western Europe and the USA, rooting its work in the principles of the Circular Economy. The foundation focuses on two core pillars: Education and Awareness — raising consciousness around the scale of plastic overconsumption and its ties to the fossil fuel sector — and Solution-oriented Guidance, offering direct, practical support for events and hospitality businesses to eliminate plastics from their operations.

Bye Bye Plastic approaches change by activating every stakeholder in the music industry, starting with DJs and artists as the most powerful voices for action. Their goal: to create a future where every dance floor can host a #PlasticFreeParty.

Camille’s motivation to launch the organization came from her personal experience on plastic-littered dance floors during a summer of festivals — an experience that made her realize how much needed to change. Prior to co-founding Bye Bye Plastic, she built her career in radio, events, and marketing, later working at Gracenote in Amsterdam before shifting her focus fully toward environmental impact.

Now leading a remote-first, international team of event and sustainability specialists, Camille continues to drive Bye Bye Plastic’s mission forward. Their 2024 Impact Report showcases recent achievements and sets out their roadmap for 2025, backed by a series of targeted programs aimed at accelerating the music industry's transition away from plastic.

What was your personal tipping point that made you realise the music industry needed to go plastic-free — and that you had to be part of that change?

My personal a-ha moment went down the same way as my co-founder BLOND:ISH’s did, and I think it goes the same for a lot of people;

Realising all of a sudden this plastic trash piling up on the dance floor was here so uninvited, was killing my vibe (I was spending more time flipping bottles & cups with my feet that using those feet to fully let go & dance), and actually made zero sense no matter the way you’d try to turn this.

I was at a time where I had taken a short break to think through what would be the next steps of my career, which I knew would need to infuse more purpose but still wanted to stay in music. So it took combining those observations and getting to the conclusion that I knew what to get back to work on!

Five years in, what’s one moment with Bye Bye Plastic that made you think, “This is actually working”?

I’ve got to mention two moments — one from the very beginnings, and one more recent.

The early one came just before the pandemic, when we launched the Eco-Rider movement in December 2019. It spread like wildfire. By January and February 2020, people across the industry were calling us, wanting to collaborate. It was a huge validation! — and then, of course, March came around, and the rest is history….

More recently, it was serendipitously receiving not one, but two awards on the same day: one for “Best Initiative Using Music to Promote Environmental Sustainability” from the Music Cities Awards (which we had applied for), and one that came as a total surprise from the International Music Managers Forum for our work in “Music Activism.” Being seen — and praised — like that? It’s proof that our hard work pays!

Plastic on the dance floor is the symptom — what’s the bigger system BBP is really trying to shift?

At Bye Bye Plastic, we’re working to shift culture — which is what feeds the system. We’re up against two intertwined cultural mindsets: the single-use culture, which prevails in the events sector (and is rooted in the “take, make, discard” model of the linear economy), and the fossil-fuel culture which prioritizes “cheap, fast, convenient.”.

More sustainable options often currently struggle to compete on those terms — not because they’re not good, but because they’re new entering the market.

They need time, but most importantly they need support and momentum in order to build scalable supply chains, in order to grow in competitiveness against the giants of the fossil world they’re up against, and settle in as the new norm. We’re here to give them that push, accelerate that movement.

What do you say to event organisers who think “sustainability is too expensive or complicated” to prioritize?

I’d say: you’d be surprised how “hackable” sustainability actually is once you accept that it will likely also have to touch upon your operations, and your P&L (just not always in the negative way you’re projecting).

The real barrier isn’t money or logistics — it’s mindset. If you’re looking for a magic fix that requires zero effort, that unicorn doesn’t exist. But if you’re open to evolving and building resilience into your operations, then sustainability IS where you should be looking.

We’re seeing amazing innovations — circular product designs and new materials that actually save time, space, and money. They’re cutting hours of labor a week for teams and bringing long-term wins on both environmental and financial fronts.

I’m convinced that if the music events sector would bring even half the creative energy it pours into stage design and marketing into building circular systems, this industry would be unstoppable — resilient, vibrant, and straight-up dope.

  1. From backstage riders to bar setups, where do you see the most unnecessary plastic in the music ecosystem — and how easy is it to replace?

  2. You work with principles of the circular economy — what does that actually look like on a dance floor or in a green room?

  3. Can you share an example of a venue or festival that made the leap and went truly #PlasticFreeParty — what changed for them

Which of Bye Bye Plastic’s current programs or initiatives are you most excited about right now — and how can others get involved?

The Zero Plastic Club program we launched in France has been such a proud moment. It’s another proof that our recipe — collective action accelerating environmental transition — really works.

Thanks to this initiative, the French club scene is now preventing over 10 tonnes of single-use plastics from being generated every year. We’re currently exploring how to bring this program to the UK, Spain, NYC, and beyond.

So if you’re a club operator, owner, resident artist, or even just a passionate regular, and you want to plant the seeds #PlasticFreeParty values in your scene — speak up, reach out, and let it be heard! That’s how change really enters the room.


How do you balance awareness-raising with actionable guidance — and why do we need both?

Great question! We always say: Knowledge is power, and power is action.

You need to understand what’s really going on before you can take meaningful steps to change it. But we’ve never wanted to stay in the “awareness only” lane, especially given that climate action often inspires a lot of doom & gloom while the music & events sector sits all the way on the opposite side of the emotional scale. At Bye Bye Plastic we're not just preaching — we’re building. A resilient, circular future is possible faster if we get our hands dirty, together.

Now some organisations are built to write & influence policy, defend legislations & citizens right, and they are equally essential! Others offer sector-specific consulting. I think BLOND:ISH & I just knew from the start we wanted to do both — raise collective awareness (create momentum), and offer hands-on transition tools (accelerate that momentum). That’s the benefit of being artist-led — we live inside this complex, connective industry, and we want to move it from the inside out.

With your 2025 plans in motion, what’s next on the disruption radar — and what kind of support do you need to get there?

  1. If we’re talking disruption, we’re getting ready for our first time at NYC Climate Week — and we’re not going to show up with “just another panel.” We want to make a lasting impact, something people carry with them long after the event. Still drawing the lines of this presence as we speak, but definitely a space to watch us head towards!

  2. We’ll also be in London June 19th for an upcoming announcement. And all across France and Belgium this Summer with our national #RameneTaGourde (#BYOB) campaign, which we’re currently recruiting volunteers for.

  3. As for what we need: any Eco-Rider artist, agency or even aspiring supporter wanting to push the environmental needle further, we’d like to hear from you as we’re working on augmenting our resources for you this year. And I guess it’s always worth remembering that currently only 3% of global philanthropy goes toward environmental causes… Needles to say, that's not nearly enough to compete with the scale of change needed. So for Bye Bye Plastic — and for every mission-driven org fighting the good fight — we’re always stocked to receive this fuel! 


The Godmother of House: Stacey 'Hotwaxx' Hale on Mentorship, Detroit and Building Space for Women in Dance Music

Stacey “Hotwaxx” Hale is a foundational architect of American dance music. Known as the Godmother of House, she was the first woman to play house music on Detroit radio, establishing a presence that would influence generations of artists and audiences alike. From the late 1980s onward, Hale has shaped the landscape of electronic music through a career that spans radio, clubs, education, and activism.

A versatile DJ and producer, Hale moves fluidly between house, techno, funk, hip hop, and orchestral forms, bridging Detroit’s musical traditions with global currents. Her résumé includes landmark venues such as the Apollo Theater in New York, Detroit’s Fox Theatre, and underground sites like Studio 54 and The Warehouse, underlining her reach across both mainstream and subcultural spaces.

Today, she continues to anchor Detroit’s dance music scene with residencies at Spotlite and Marble Bar, while also maintaining an international profile with performances in cities including London, Berlin, and Toronto. Outside of performance, Hale’s work on Deepspaceradio’s Twisted Tuesdays, and her involvement in mentorship initiatives like Girls Rock Detroit and Give a Beat, underline a long-standing commitment to community building and education.

Hale is not only a DJ but a founder and advocate, co-creating Sheometry Festival alongside DJ Minx to amplify female and non-binary voices across the music and arts ecosystem. Across four decades, her work reflects a sustained engagement with sound as both a cultural and political force.

How did you get your start in music?

My musical journey began at age 3, immersed in the rich sounds of jazz through my parents and older brothers. They were avid music lovers who exposed me to jazz first, then R&B, rock, and fusion. Looking back, I realize this early exposure was instrumental in developing my ear and laying the foundation for my career in music. This diverse musical upbringing shaped my ability to understand and blend different genres, which became crucial in my development as a house music DJ.

You are known as the ‘Godmother of House Music,’ but in a scene that still skews male-dominated, what does real progress for women in house and techno look like to you?

The title 'Godmother of House Music Detroit' came from the community, and I've grown to embrace it with deep respect. It's important to acknowledge my contemporaries like Sharon White in NYC and Celeste Alexander in Chicago, who also pioneered house music in their respective cities.

Together, we broke ground in a male-dominated industry, proving that women could not only participate but excel and innovate. This disparity in gender representation inspired the creation of Sheometry Music & Art Festival, which continues our mission of creating space for women in electronic music.

Dance music is often seen as a culture of celebration, but it’s also a form of resistance. Looking back on your career, how has house music been a tool for freedom and empowerment, especially for women and Black artist

House music represents a perfect fusion of celebration and cultural significance. What particularly draws me to this genre, especially Gospel House, is its ability to convey profound messages through rhythm and melody.

In Detroit, our community embraced both Techno and House as vehicles of artistic expression. This music created an inclusive space where authenticity thrived, particularly significant for Black artists and women in the industry.

Through my performances at spaces like the Boiler Room: Detroit and Sónar Festival, Movement Festival,  I've witnessed how this music continues to break barriers and unite people.

The relationship between DJs and live musicians is something you’ve explored deeply with Nyumba Muziki and Black Women Rock. How does performing with live musicians change the energy of a house set?

The synergy between DJs and live musicians creates an unparalleled musical experience. My appreciation for instrumental music, particularly piano, has deepened through collaborative performances that bridge electronic and acoustic elements. Working with musicians who share this vision of musical fusion has led to remarkable moments of creativity. These collaborations, whether through Beatport Live or at international festivals, demonstrate the endless possibilities when traditional and electronic music converge.

You’ve played everywhere—from Studio 54 and The Warehouse to Marble Bar and Spotlite Detroit. Out of all those legendary dance floors, what’s your favourite memory from behind the decks?

Each venue has gifted me with unforgettable moments, but two particularly stand out: The Zoo Project in Ibiza and The Apollo Theater. Beyond those, some defining moments include:

Studio 54: The night I needed security because the crowd was so energized by the music, they wanted to personally express their appreciation. Having the Clark Sisters present me with the 12" of 'You Brought The Sunshine' made it even more memorable.

The Warehouse: The 1st live Broadcasting on FM 98 WJLB also with singing recording artist ADEVA surprised me with a birthday serenade – a perfect fusion of radio and live performance.

Marble Bar: This venue set the standard for sound quality in progressive House/Techno, showing that perfect acoustics are essential for this genre.

Spotlite Detroit: A powerful return to live performance post-pandemic, reinforcing music's ability to heal and unite communities.

You’ve mentored and taught DJing and production to young artists through SPIN INC, Girls Rock Detroit, and more. What’s the most important piece of advice you give to the next generation stepping into this world?

Through my work with SPIN INC, Girls Rock Detroit, and other organizations, I've discovered that the most fundamental lesson isn't about technology or technique – it's about truly listening. I always tell my students: 'Don't just hear the music, listen intentionally.' Understanding how to create specific emotional responses in your audience is crucial. This deep listening skill becomes the foundation for everything else in music production and DJing. It's about developing the ability to curate experiences and connect with your audience on an emotional level.

What is it about Detroit that continues to fuel the most influential sounds in dance music?

Detroit's influence on dance music stems from our authenticity as both an industrial and technological hub. Our musical legacy spans Motown, Jazz, Hip Hop, Funk, Soul, House, and Techno – each genre reflecting our city's evolution.

What makes Detroit special is that our sound isn't manufactured; it's born from real experiences and innovation. The 'Detroit sound' has become so influential that artists worldwide incorporate our city's name in their work, hoping to capture some of that authentic innovation that's uniquely Detroit.

We don't just create music; we pioneer sounds that continue to shape global musical landscapes.

  • Interview by @ninakeh


Stacey “Hotwaxx” Hale on Instagram | Website

ILĀ on EP 'Murmur' with Imogen Heap, Guy Sigsworth, Reeps One and What’s Next

Photo credit: Sophia Stefellé

ILĀ is an artist, producer, and vocalist working across voice, sound, and technology. Their practice spans live performance, immersive installation, and experimental composition. As co-founder and director of London Contemporary Voices, ILĀ has collaborated with over 25 Grammy-winning artists, including Florence + The Machine, Imogen Heap, and U2, and contributed to major projects such as the BBC Proms and runway shows for Burberry and Tommy Hilfiger.

Their recent work includes UN/BOUND, a holographic sound installation created with TRANS VOICES and MONOM for Feel the Sound at The Barbican. The piece combines choral voices with tone transfer models by NEUTONE and quantum computing tools developed with MOTH. ILĀ’s upcoming short film murmur features collaborations with Ai-Da (robot artist), Imogen Heap, Guy Sigsworth, BISHI, and Portrait XO.

ILĀ has performed and presented work internationally, including at the World Economic Forum, TED Countdown Summit, Silencio (Paris), Puzzle X (Barcelona), the University of Oxford, and Harvard University. Other commissions include Kindred (animated VR film), Loomaland’s Robot Swans, and a collaboration with Turner Prize-winner Jesse Darling on MISERERE.

They are a member of the Ivors Academy Future Sound Experience Council, the Earth/Percent Music Committee, a Redcliffe Advisory ambassador, and a research partner on AI and music at the University of Sheffield. In 2022, ILĀ co-founded TRANS VOICES, the UK’s first professional trans+ choir, which debuted with a music documentary for Guardian Films.

In this interview, ILĀ speaks about the making of murmur, working with artists like Imogen Heap and Guy Sigsworth, and recent projects that connect voice, technology, and live performance.

Your latest EP, murmur, features collaborations with groundbreaking artists like Imogen Heap, Guy Sigsworth, and Reeps One. What’s the through-line connecting all these voices, and what did you learn from working with them?

Murmur comes from a very deep and instinctual part of me - and is mostly all born from the voice in some way or another.

Of course, my identity as a brown trans person strongly informs my experience of life - and it’s lead to a lot of trauma - I think my early creativity was born from a very urgent need to give voice to that. I’m as interested in creating choral music with human singers, as I am in making electronic music or working with quantum.

For me, I find just as much beauty and possibility in both - I like go to the places I’m most scared of - because there’s usually some mystery there I want to tap into. I feel that intense curiosity in me is sparked around people like Imogen, Guy and Reeps One.

With the help of Portrait XO, I created hybrid voices of Imogen and I and Bishi and I. They are like a playful child - surprising, unpredictable. With Reeps One, there has been this exploration of permission - that the first idea is good enough.

But also finding a second self within these hybrid voices - that can almost act like a sparring partner - ever expanding what we can do. Guy would bring out this oxygenated side to my voice, putting together these phrases from what I would sing which I thought would be impossible for me to re-sing. Weirdly, I found myself able to - and went through these huge expansion of what was possible for me. 

Photo credit: Sophia Stefellé

You’ve spoken at Oxford University, collaborated with the European Space Agency, and composed with quantum computing. What’s the wildest or most unexpected place your music has taken you?

I’m going to be singing with Nightingales with Sam Lee and violinist and composer Anna Phoebe. I’m so curious about it - being in nature, singing - creating with these mysterious little birds in the woods. I’m hoping to create a piece of music from it for Earth/Percent - the music industry’s climate foundation -  who I’m on the music committee with. 

You’ve worked with some of the biggest names in music, from Björk’s collaborators to Grammy-winning artists. Looking back, what’s been the most defining moment of your career so far?

I think Murmur marks a really shift for me. Creating it with Imogen Heap, Guy Sigsworth, Bishi, Reeps One, Portrait XO, TRANS VOICES and Jake Miller just blew me open. I admire them all so much and have this deep bond of trust there. I feel I found this more instinctive part of my voice. A freedom. It’s also the first release that has my first steps into quantum computer music in it. This also said, in the spirit of quantum, I actually genuinely feel that the most defining things are always the smallest. The culmination of all the momentary interactions - a going this way rather than that way in a melody or a conversation - those things change everything. I love the chaos that brings to life. 

You’re constantly pushing into new territory—whether it’s AI music, DNA sequencing, or sonic storytelling. What’s next for you?

My next single Recurse comes out on 25th April. It has this playful rage in it - like a lightness but then it also felt so cathartic - like I could finally really embrace noise. I made it using quantum reservoir computing in partnership with MOTH. As part of it there will be an infinite quantum radio that will continuously stream an ever evolving of the piece that people can interact with. I got to do a performance of it at Havard a few weeks back. 

I’ve also co-created my first installation piece UN/BOUND with TRANS VOICES and MONOM which is part of theFeel The Soundexhibition at The Barbican. It’s a immersive holographic choral piece with electronics I’ve made using quantum. Audience members can also transform their voices into TRANS VOICES’ hybid voices using a tone morphing model by Neutone. The exhibition is going to be going on a 5 year world tour. The exhibition opens May 22.

  • Interview by @ninakeh


ILĀ on Instagram | Website