When considering career options in electronic music, some positions are more well-known than others. Promoters, booking agents, artist managers—these are some of the industry's most sought-after and glamorous roles. But what is it really like to look after the touring schedule of one of the world's biggest DJs during a pandemic? And how does a lawyer and self-proclaimed vinyl obsessive get to a point where they can name New Order and Four Tet among their clients? In this piece, we speak with 13 experts in different sectors of the industry spanning marketing, publishing, merchandise management, as well as stage and tour design. Each has different backgrounds, levels of experience and a unique story about how they got to where they are now and how others can follow in their footsteps.

This article is part of Elijah's guest edited month of March, specially curated content published with the intention of demystifying the music industry. For those interested in pursuing a professional path within electronic music, head to Doors Open, a job and resource portal for all experience levels.

Lisa Marxen - Managing Director of This Is Music

Nicole Hatch - Label Coordinator/ Merchandise Manager at Phantasy Sound

Kenny Eshinlokun - Digital Marketing and Brand Partnerships; Founder of Taboo brand partnerships agency

John Humphrey - Booking Agent at Higher Ground

Kay Wrate - Managing Director and Head of A&R at Warp Publishing

Sam Carter - Music Lawyer, Barrister at Hogarth Chambers

Zak Norman - Filmmaker and Stage Designer

Gregory Wells - Radio Plugger and Co-founder of British radio promo company Ghost

João Castro - CEO and Art Director at The Royal Studio

George Dalziel - Senior A&R manager at Virgin Music and Founder of the LG105 imprint

Chanel Kadir - Music Publicist and Director of Dawn Creative Agency

Sebastian Manuel - Tour Manager for Honey Dijon

Simon Dawson - Marketing COO at Defected Records

Lisa Marxen is the managing director of This Is Music, a boutique music company managing artists and producers such as Bicep, Ross From Friends, Jayda G, Roosevelt, Logic1000, Sofia Kourtesis, Simian Mobile Disco and James Ford.

How did you get your start in this industry? How long have you been performing this role for?

I started doing volunteer work and internships as a teenager, ranging from working as an assistant in a recording studio to concert stagehand to helping plan a small local music festival. Growing up in a tiny town in Northern Germany far removed from any music industry, it was a combination of coincidence, timing, curiosity, hustle and hard work that eventually led me to manage my first artist when I was 21 whilst living in Denmark. That was 17 years ago.

What are the demands of your role as an artist manager?

Broadly speaking, the role of the artist manager can be described as being a very versatile advisor and adaptable project manager that sits between the artist and most of the other roles within the artist team and industry overall. You need to know a bit of everything from negotiating deals and developing strategy to navigating the live sector, rights and IP management, A&R, marketing and creative—which all comes with the experience gained on the job. But most importantly, you need to have people skills.

How do you help artists in your role?

Our aim is to build long-term artist-led businesses. We guide our clients through setting goals, building strategies and providing a framework to help them make decisions and deal with a constant workflow. Looking after our clients' well-being and mental health is paramount to us.

What sort of person do you need to be to be a successful artist manager? Are there any prerequisites (education, courses, etc)?

You don't specifically have to get an education in music business or even go to university. I didn't. You need to be savvy and have a lot of drive to learn, improve and challenge yourself, even when you think you "get it." It's a fast-paced industry and you need to be able to adapt (when I first started, CD sales were important and social media didn't exist). Most of all, you need to stay curious and humble enough to admit when you need help. Being a manager is a huge responsibility and being a good listener and mediator are key skills every manager should have.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

As a manager, you normally get paid a commission, which is a percentage of the artist's income. Most managers are paid a share of the net profit (i.e. what the artist actually takes home after some or all of their costs) although in the US, for example, managers often take a share of the artist's gross income (the money the artist receives from their business before costs come off the top). You'll often end up working on a lot of stuff that doesn't make money directly or immediately but is essential to the overall success of your artist. Then suddenly, an unexpected opportunity can come along and end up generating your artist (and therefore yourself) a decent income. This is why artist management is truly a long-term investment.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

The first band I managed grew very quickly from being a new underground act to having critical and commercial success in Denmark, and eventually international recognition as well—something that doesn't happen for many artists from small territories. Despite more senior managers trying to poach them and arguing I wasn't experienced enough, the band trusted in my abilities, which was a huge boost for my confidence. Once I was able to repeat success with other artists, I understood I was actually good at my job. Even the most successful people will tell you that they sometimes (or often!) feel like they are winging it.

What advice would you have for young people interested in pursuing artist management today?

Being able to build a trusted advisor relationship with your clients is key. Know what you don't know and don't be afraid to ask for help. Be nice to people. In this industry, it's almost certain that you will cross paths with people again and you never know how they might be able to help you and your client in the future.

Any final words?

Surround yourself with people who are great at their jobs and inspire you. I've been very fortunate to have had a number of key people throughout my career who have mentored and encouraged me through challenging times. Having people that I truly respect who believe in me and my abilities and support me whenever it's needed has helped me get to where I am in my career.

Nicole Hatch is a label coordinator/ merchandise manager at Phantasy Sound, home to artists including Erol Alkan, Red Axes, Terr, Late of the Pier, Fort Romeau, Daniel Avery and Connan Mockasin.

How did you get your start in this industry?

I interned at Transgressive Records for a month during my university course, had a taster of music industry/ independent label life and loved it instantly! They're a great team of people still releasing incredible records to this day.

What are the demands of your role as a merchandise manager?

Merch is an integral part of the business; it's important all T-shirts, sweatshirts, prints etc are stocked and re-stocked. I order stock from suppliers, lodge orders with our fulfilment team and ensure the website is updated and that followers are informed via social media when something's back in stock.

We also have a fresh collection of Phantasy designs each year. We collaborate with a few designers who share our ethos to dream up new ideas which are typically printed onto T-shirts first. If it's a big hitter, it'll progress onto a print, tote bag and beyond!

How do you help artists in your role?

With a release campaign, especially for album campaigns, merch helps bring the whole release package together. When working on Daniel Avery's album campaigns, for example, we usually discuss what we can add that his fans would love. This has included pressing a run of tees based on the album artwork and a range of digital prints of the various Love + Light artworks by Keffer.

What sort of person do you need to be to be a successful merchandise manager? Are there any prerequisites (education, courses, etc)?

Really, you just need a great eye for what people like to wear! A passion for the scene and love of what you're doing also helps. You don't need any educational experience per se, it's just a case of being proactive and getting stuck in on different projects.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

I am paid a monthly retainer fee for my work with Phantasy—like a freelancer salary!

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

Previously, I'd been focusing on social media/ marketing for the label, but during the pandemic I had some spare time and began to pick up a few extra tasks here and there. It began as learning how to order some tees, then liaising with our fulfilment team and now it's blossomed into a well-rounded role spanning handling the creation of the products through to sharing them on social media and to our email database.

What advice would you have for young people interested in pursuing a role in merchandise management today?

If you have a love and passion for it, just get stuck in! Having a DIY mentality will get you far, and don't let anyone tell you you can't do it because you most definitely can!

Kenny Eshinlokun is a digital marketing and brand partnerships specialist and founder of Taboo brand partnerships agency. Her clients include Yaya Bey, Lotic and Jay Jay Revlon, Marcel Dettmann and Lyzza.

How did you get your start in this industry?

After trying and failing to get my foot in the music industry door, I met Jane Third (at the time she was the SVP of Because Music) through David Laub (of First & Last Music) who I met at an industry speed dating-style day at Sonos Studio. David took a liking to me and introduced me to Jane, who eventually brought me to PIAS records when she left her job at Because Music. That was my first proper job in the music industry.

What are the demands of your role as a digital marketing/ brand partnerships specialist?

The biggest is balancing the demands and expectations from artists and brands, simultaneously. Most of the time, brands and artists have completely different expectations of brand partnerships, so making sure they eventually align can be tough. I really enjoy the challenge though, as well as the art of making real and well-matched connections.

How do you help artists in your role?

I help artists and brands to see where there are synergies between their needs, goals and communities etc. It's important that the artist really aligns with the brand and that the partnership is as authentic as possible.

What sort of person do you need to be to be a successful digital marketing/brand partnerships specialist? Are there any prerequisites (education, courses, etc)?

The more you understand about both parties involved in the partnership, the better. I think it's useful if you've studied something related to business, marketing or PR but it's not always necessary. The more real world connections and real world experiences you have, the better you can navigate the industry.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

It varies and depends on many factors.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

My comfortability comes from time and experience. I'm still learning, times are changing, so you have to remain agile. Having a good support system around me is integral. Being open about what I don't know and being open to share what I do know helps me get further in a shorter space of time.

What advice would you have for young people interested in pursuing a role in digital marketing/ brand partnerships today?

Be curious and absorb inspiration and information from as many sources as possible. Start to look at what is already being produced and think about how you can innovate. The route into these spaces are not always straightforward, so it's good to have knowledge of a specific area, whether that's music, fashion, sports, whatever. Then, you can use your knowledge to start connecting the dots.

John Humphrey is a booking agent at Higher Ground, whose clients include Bicep, Ace Mo, Moma Ready, DJ Boring and Ross from Friends.

How did you get your start in this industry? How long have you been performing this role?

I started out promoting small parties in a pub in New Cross in London while I was a student at Goldsmiths and eventually graduated to running larger events full-time. At some point around 2009, I made the switch from promoter to booking agent and very soon after that, I started working alongside the excellent team at This Is Music (an artist and producer management company).

What are the demands of your role as an agent?

Hmm, where to start? Being responsible for the touring careers of your artists. Keeping a thousand different plates spinning. Trying to stay in control of your inbox. Constantly thinking 3 to 18 months ahead and moving many different puzzle pieces around. The pandemic has naturally put a whole host of new demands on the role, from understanding constantly changing travel restrictions to dealing with never-ending cancellations and all of the stress and uncertainty that comes with that. Balancing work and home life can also be a real challenge—my partner would certainly agree with that one.

How do you help artists in your role?

Each role within an artist's team is more specialised than you might think and being an agent is no different. We use our network of contacts and our highly specific knowledge of each country and city to strategise and organise touring for our artists. What shows to play when, which bookings to say no to, what the fees should be, which kind of line-ups they should be on and which ones to avoid, who are the reliable people to work with in each city, what set time they should play at that particular event, etc. All of this can vary according to the act, so individual strategies for artists on the same roster can be quite different.

What sort of person do you need to be to be a successful agent? Are there any prerequisites (education, courses, etc)?

You need to be able to build and maintain long-term relationships, not just with your artists and their teams but also with promoters all over the world. Some agents focus more on power dynamics or applying maximum pressure to get results but personally, I find that to be an old-fashioned approach more suited to an episode of Mad Men. We prefer a more collaborative approach at Higher Ground. Yes, you will often need to be tough to protect your artists' interests but you won't get the best long-term results if you are in battle mode 100 percent of the time.

A lot of agents will have a degree of some kind but I wouldn't necessarily say that's a prerequisite. It certainly helps to be highly organised, to have an understanding of numbers and to have good negotiating skills. An in-depth knowledge of music is of course very important but a good ear for new talent equally so.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

An agent usually earns their fees on a commission basis. This is typically in the range of 10-15 percent of the fee and paid either by the promoter or the artist, depending on the deal type. Younger agents employed at bigger agencies tend to start out earning a salary as an assistant then move on to being an agent. Deals vary but typically agents are paid a base salary and then receive a bonus each quarter or so, according to the commission they bring into the company. When I started as an agent, I stupidly chose a commission-only deal without any base salary, which meant I had to supplement my income as a promoter and DJ for the first couple of years and my income went up and down a lot month-to-month (January was never much fun!)

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

I think I started to feel more comfortable around three years in, at which point you have a decent network of contacts and some of your artists have hopefully developed enough to be more in demand. I found travelling with the artists to see the venues and meet the promoters face to face really helpful in the first few years.

What advice would you have for young people interested in becoming an agent today?

Brush up on your epidemiology. If you find yourself shouting down the phone at someone or writing in caps, you're doing something wrong.

Any final words?

I'd like to give a special shout out to the Independent Agency Collective, who we are a part of and who have been a great source of support during the difficult past two years. It's a collaborative project between eight booking agencies and, as far as I am aware, is a totally new way of working for independent agencies such as Higher Ground. You can find out more at the Independent Agency Collective website.

Kay Wrate is the managing director and head of A&R at Warp Publishing. She started at Warp as artist relations manager in 2015.

How did you get your start in this industry? How long have you been performing this role?

I left university (I studied Journalism) in 2005 and knew I needed office experience to get a job so I started working at PRS For Music in their Streatham office as a Research Officer and never looked back. It said "music and research" in the job description but it was mainly data entry to begin with. I've been working in music publishing for nearly 17 years now.

What are the demands of your role as a publisher?

It's changed dramatically over the years I think. When I first started working at a music publisher after I left PRS, it felt like our main role was to do a good job on collecting royalties for the roster. Nowadays, I think you have to provide so much more to be a 'good' publisher. We currently have A&R teams, sync teams and people focussed on score/commissioned work. It's a lot more creative now and cheerleading your artists and writers is way more crucial.

How do you help artists in your role?

I think in 2022, it's quite hard for artists to rely on single/album sales and streams so we try to help by working out other sides of the writer's career, whether that is writing for other artists, score work for film and TV and other commissioned projects such as creating music for stage productions and library music. I think being accessible to your artist/writer roster is really important and supporting them through their career and any challenges (the pandemic, in particular) is key.

What sort of person do you need to be to be a successful publisher? Are there any prerequisites (education, courses, etc)?

I worked in copyright and royalties for twelve years before becoming an A&R, then managing director. Those experiences helped me to understand where an artist's income comes from and the business behind publishing. I would probably advise people to have a bit of time working on the back end of a publisher's administrative services to get the full picture.

Every day is completely different and publishing is like a bottomless pit of learning new rules and new information. I think a passion for approaching each artist's needs and their career development is a must in this industry too.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

My employer, Warp Publishing. My pay is focussed on my responsibilities I have at the company and the team members I oversee and how well the company is doing based on my decisions. No pressure!

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

Publishing is a hard area to fully feel comfortable in because so much of the industry, its trends, collection and data changes so frequently. I feel comfortable in the fact I understand how all the areas of our publishing company work but that's after many years of working in different-sized companies and departments and soaking up all the conversations around me and having an active interest in this area of the music industry.

For so many years, I'd be asked what I do and I'd have to fully explain what music publishing meant, often with people looking at me blankly. I think a lot of people associate the music industry with marketing, sales and A&R, and music publishing has always been in the shadows. I think it's having its moment now and rightly so. People are understanding what it means and how it can help boost their income and career. There's still a lot of work to do to educate artists/writers and let people know this is a viable and growing side of the music industry to work in.

What advice would you have for young people interested in becoming a publisher today?

I think a lot of responsibility lies with the music industry to educate young people about all the roles in the music industry. I think in a young person's mind, there's the artist and the scout and that's it. Spiral Skills is a good resource.
My main advice would be to keep an open mind on the publishing jobs out there. Try not be put off by roles that aren't creative and read a bit about publishing if possible. PRS For Music is a good place to start for information.

Sam Carter is a barrister at Hogarth Chambers in the UK who specialises in intellectual property. He has represented a number of high-profile artists including Four Tet and members of New Order

How did you get your start in this industry?

I have been practising as a barrister (at Hogarth Chambers) since 2016. I specialise in intellectual property including copyright, patents, trade marks and designs, so I see work across a very broad range of industries, not just music/ entertainment work.

However, I have always had a particular passion for music and have particularly enjoyed acting in music-industry related cases over the years, from a trademark dispute between the members of New Order to a royalty dispute between Four Tet and Domino Recording Company.

As a barrister, most of the time you don't choose your clients, they choose you. Having said that, once you start doing some work in a particular area, more tends to follow.

What are the demands of your role as an entertainment lawyer (specifically in relation to how you deal with music clients)?

Most of the work I do is litigation (although I also do advisory work). Litigation has obvious challenges—it is high-pressure, deadlines come thick and fast, and it can be very factually and legally complex. Music and entertainment industry disputes also often involve breakdowns in personal relationships, which can further complicate matters.

How do you help artists in your role?

I help artists or other clients achieve successful resolution of their disputes, whether through litigation or out-of-court settlements.

As a music fan (and obsessive vinyl collector) I am particularly keen to help artists. Lots of my friends are also musicians and I run a small record label in my spare time, so I have a good insight into the challenges artists face. Technology has moved on so much over the last few decades and I do think the law is sometimes playing catch-up with that. The recent Digital, Culture, Media and Sport Committee investigation and report on the Economics of Music Streaming is a case in point.

Ultimately though, the way in which I help artists completely depends on the nature of their dispute-whether it be contract, copyright, trademarks, or something else. We have to figure out what they are trying to achieve before I can help try to get them there.

What sort of person do you need to be to be a successful music lawyer? Are there any prerequisites (education, courses, etc)?

You need to be smart, measured, and persistent.

There are a fair few prerequisites. A law degree, a professional qualification (as either a barrister or solicitor), vocational training (either as a barrister or solicitor)—it is a long, hard slog. An interest in or love of music also helps!

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

As a self-employed barrister, most of the time my clients are solicitors. The UK legal system works differently to most other countries-artists/ companies/ members of the public instruct solicitors to act for them, and it's only if it turns into litigation that the solicitors then instruct the barrister.

I also do some public access work, that is, I work directly for the client, without solicitors as intermediaries. I would usually only do this as advisory work, however. Once it turns into litigation, the additional resources and support that solicitors provide are invaluable.

I get paid an hourly rate, like most lawyers. For the sort of work I do, no-win-no-fee stuff is very rare. That means I get paid the same amount whether we win or lose—but if we win, the usual order is for the losing side to pay the winning side's legal costs.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

For the first few years, the learning curve is incredibly steep. Most of the work you do, you are doing for the first time. That can be very daunting, but once you realise everyone else has been through this, it gives you confidence.

I'm still learning all the time, but I think I was probably about three years in before I started feeling more comfortable. It is a high pressure job though, and uncomfortable moments are still pretty common! Being a member of a barristers' chambers does provide some support. I might be working with another barrister on a case, but even if I'm not, I will often discuss aspects of my cases with other members of chambers. Having people to sanity-check things with or bounce ideas off really helps.

What advice would you have for young people interested in pursuing a role as an entertainment lawyer today?

It's an incredibly rewarding job and I love the variety of my work. Because it is project-based, it doesn't get boring. I particularly enjoy music industry work, because music is my main passion and hobby outside of work. But I like diving into a huge array of weird little worlds. I've worked on cases about karaoke CDs; strip clubs; the David Bowie lightning bolt; online piracy; copies of paintings and sculptures—it really could be anything, which keeps it interesting. Also, helping clients achieve successful resolutions is deeply rewarding.

It is hard work, the hours can be long and it involves a lot of responsibility and pressure. It's also very competitive. But if you can stomach it, it's worth it.

Black Box Echo is the creative alias of filmmaker and stage designer Zak Norman. Along with his own personal projects, he has also worked with Bicep, Squarepusher, Resident Advisor and Bacardi among others on film and installation projects.

How did you get your start in this industry?

I had just finished my degree, which was in digital music and sound art, and had moved back to London unsure of how that would translate into real world employment. Some friends from the underground party scene had just started an event design and technology company which later developed into two powerhouse organisations called Res and Immersive. I started hanging out at their offices for the want of anything better to do and realised there was a niche position I could fill as the bridge between the musicians who wanted to put on shows and the production teams who came up with the visual ideas. My music background helped me relate to how an artist wanted to perform live, but with synchronised video and lighting elements. I was put to work trying to come up with integrated systems that would allow this sort of flexibility. It was a lot harder to do that back then than it is now, which in a way was a good thing for me. Being around for all aspects of the design and production phase allowed me to gradually pick up more and more knowledge, plus confidence that this was a career path I could explore.

What are the demands of your role in show design?

Show design exists at the intersection of creative and technical disciplines, that's what makes it so exciting. You are given the responsibility of translating a music artist's performance into visual language. As the show designer, you generally tend to work directly with the artist or their management team. Every so often, you are brought in later down the line by the tour or production manager. When designing a show, there are budgetary constraints to take into account, but you also have to consider where the show is going to be performed and whether it is a one-off installation or a touring production. All of these factors will start moulding the show from a technical standpoint before you even start thinking about it in a creative way.

After that, you spend time working on sculpting your design, normally in conjunction with a lighting designer and visuals team, as well as stage building and rigging experts, depending on what you are going for. A lot of the time the key to the role is to not get too close to any one element that makes up the show-it's your job to make sure all of these disciplines complement each other and most importantly, augment the world that the artist is creating.

How do you help artists in your role?

What you are looking to do is allow them to express their personality and music on a magnified scale. An artist can essentially act as a mirror to the audience. We project a personality onto them based on how their music makes us feel. As a stage designer, you are essentially doing this too, but by spending time with the artist and learning what you love about them, you can try and connect your work with the artist's intention. In a lot of ways, I think empathy is one of the most useful characteristics to have when working in stage and show design.

The bigger the scale of the show, the harder it becomes for the artist to connect personally with their audience which makes your role even more important. You have to try and find idiosyncratic solutions to this. Some artists are more comfortable with being the focal point of what they do while others might need more mystery or "protection" on stage. If you design with the characteristics of the artist in mind as well as what looks good, the process becomes far more holistic.

What sort of person do you need to be to be a successful live show design specialist? Are there any prerequisites (education, courses, etc)?

I wouldn't say there is necessarily any particular prerequisite that is essential. Having a background or interest in architecture, lighting or film would certainly help, but I didn't come at it with any real knowledge of these. Real world experience is 100 percent the best way to come to grips with everything, as well as being a great way to meet people in an industry that does tend to work quite heavily on relationships.

Go on tour if you can, try any job going. Get an understanding about how you need to adapt different shows to different venues, or how you have to design around quick changeovers at festivals. The more you learn about all the different aspects that make up a show, the more you understand what you're asking of people when you design something.

Some practice with basic 3D software is also handy. You can start with something free like SketchUp and work your way up as you feel comfortable. Further along the line there are programs like Depence2 which are incredibly useful for visualising entire shows with lighting, video and special effects. As well as being great for trying out new ideas, they can also reduce the amount of time you need to spend in physical rehearsals for shows, which are very expensive.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

On the whole, you are paid directly by the artist, or organisation/ company if you're working on something more corporate. It's perennially difficult to work out how much your time or designs are worth, but especially so at the beginning of your career. There is no benchmark really. At first, you end up doing a lot of things for much less money as a way of getting yourself known and getting some experience. I do think it's worth doing this to a point as the industry is based heavily on making connections with people, but you need to level up on the financial side as you grow creatively and get more experience. The music industry is a business, after all, and people will always look to get things done for the least possible outlay.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

It does take time. It's an industry full of big characters and it can seem incredibly daunting at first. When you start out you tend to feel the need to pretend you know more than you do, which leaves you constantly worried about being found out.

There were certainly specific jobs where, when you have completed them, you feel like you have reached a higher level. The first job I completed under my name certainly had that effect. But the biggest change for me happened when I became more comfortable with who I was as a person. I realised I didn't need to act a certain way to fit in with the culture, that it was okay to be gentle and strange, and that being myself would actually get me far more respect than trying to be like everybody else.

What advice would you have for young people interested in pursuing a role in show design today?

Try not to get too attached to any one idea. It can always feel, especially early in your career, that a particular design will be the one that defines you. I think that one of the reasons we get so precious about ideas is that on some level we are worried that this might be the last great one we ever have. But I've found it's best to never hold on to anything too tightly. You will always have more ideas.

As cheesy as this sounds, I'd also suggest that you find your people. A successful stage show relies on so many different disciplines. Finding people to work with that you genuinely love being around makes a huge difference to the process and to your own mental health. Show design at its heart is a collaborative process. You need people to bounce ideas off, people you trust with aspects of it that you don't fully understand and people that trust your vision for the parts that you do. The fundamental aim of what you are doing is to create a spectacle that is shared by an audience in a singular moment. If you can still feel that excitement and togetherness when you are watching your own show with your team, you're probably doing a pretty good job.

Gregory Wells is a radio plugger and co-founder of British radio promo company Ghost. Clients include Caribou, Avalon Emerson, Floating Points, Peggy Gou and Sudan Archives.

How did you get your start in this industry? How long have you been performing this role?

I got my first real music industry opportunity in 2008, a few months before I graduated (from Buckinghamshire New University in music industry management and artistic development). I emailed the labels all my favourite artists were releasing on and Brille (The Knife's label at that time) came back offering me an unpaid internship. It's not something I could really afford to do at the time, but I knew I'd struggle to find a job in music if I didn't have a foot in the door somewhere. During my time at the label, I tried to be a sponge and consume as much as I could while trying to work out what area of the music industry excited me the most (or at least the one that would pay me). This is how I was first introduced to radio plugging. I've always loved radio and would religiously listen to Zane Lowe whilst working in the Asda bakery as a teenager. When the label finally imploded due to their funding being cut, the radio plugger for Brille asked if I'd be interested in doing a trial with him and that's how my career as a plugger started. I'm lucky to call it my job 15 years later.

What are the demands of your role as a radio plugger?

Radio plugging provides the link between artists and radio stations. My role is to ensure the music of the artists I represent is supported by the right presenters, DJs and stations through airplay and promo opportunities. I also contribute to the overall release strategy, single choices and help build the artists' story on radio stations. I work closely with each artist, manager and/or label to ensure they're getting the best service possible.

What sort of person do you need to be to be a successful radio plugger? Are there any prerequisites (education, courses, etc)?

For me I feel a good plugger needs to be confident yet personable, strategic and instinctive. We also need to know what we're plugging and who we're plugging to. Understanding the radio landscape is number one and without this you're plugging in the dark. A radio plugger will also need to build a strong network of radio contacts that trust you will bring the best music through and who will open your emails before anyone else's.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

Each plugger works differently but generally speaking I get a flat fee per release (single/ EP/ LP) and sometimes a bonus for achieving pre-agreed targets. The big risk for those hiring a radio plugger is the service never guarantees results so there is always an element of risk when investing in radio promotions. For most, radio plugging is far from cheap and not always the route to success within music. There are plenty of artists that build amazing careers without ever hiring a plugger!

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

It took me at least three to four years of doing this full time before I felt like I really knew what I was doing and more than five before I thought I was any good. Radio plugging has incredible highs but a lot of lows too and not achieving what you had hoped or getting a bad result on a release can really knock your confidence. I've been doing this for 15 years and I still question my ability after a bad result. I often think this is what makes me good at what I do, though. I'm very emotionally invested in all the releases I work on and I think this comes through when I'm plugging them. I want radio presenters to feel like I'm a friend telling them about some great music I just heard in the pub, not annoying PR who has been paid to try and make them like something. I am also very fortunate to work with artists I feel are the best in their genre. Having the trust of them and their team breeds confidence and drives me to achieve the best results possible.

What advice would you have for young people interested in becoming a radio plugger today?

Completely immerse yourself in radio across all genres and try to better understand the taste of each presenter. As a plugger, I feel it's essential to plug music you like so try to find the shows that represent your taste best and try securing support there. As an entry point, find a plugger who has a roster that you love and try to get in touch and form a relationship so that if they ever do have a role coming up, you'll be at the front of their mind.

João Castro is the CEO and art director at The Royal Studio in Porto, Portugal. Clients include Printworks London, Bicep, Atom Nation, The Lovie Awards, and Adobe.

How did you get your start in this industry? How long have you been performing this role for?

I started working with music when the studio launched in 2011. The dialectic relationship between visual arts and music production defined my approach to design. I like to blur the lines between design and art. Authorship implies building new fields to ignite the world around us; the music industry does this as a cultural arena. I like to bond visual communication and sonic atmospheres, allowing for the designer to become an artist in the same way the musician transcends themselves to create an experience for public consumption.

What are the demands of your role as a graphic designer?

Asking "what is and what is not" or understanding that if a task is not dramatic it is probably not enriching is part of the quest of a visual mediator. Our design practice is about more than providing a service and solving problems. Our role as designers is to establish bridges between all mediums, coordinate teams with different expertise, and construct fully immersive spaces and materials. It is important that we spark the imagination of the public, inviting people to question what they are seeing and feeling through sharing knowledge and expanding perception.

How do you help musicians in your role?

We help them tell stories using concepts and semiotics. We create an intimate conversation with the artists to build a visual discourse where action is no longer just appearance but a narrative. We talk a lot about what is not so obvious in their music, from cubes, cones and spheres, to long walks on the beach, gasoline in the sea, vodka and kombucha!

What sort of person do you need to be to be a successful graphic designer? Are there any prerequisites (education, courses, etc)?

Education and knowledge are key for a successful graphic designer. Understanding the core concepts of composition, drawing, typography, micro-and-macro spacing, hand-sketching, photography and generative or experimental coding is essential these days. You need to be able to work alone and coordinate teams if art directing. A creative also needs to be curious, imaginative, fearless, and restless and to keep up with the many fields orbiting around design (from ballet to philosophy, poetry to muffins, astrophysics to trash TV, you name it!) Be bold; tepid opinions make for unsatisfying work.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

The main income comes from commissioned work. Working in the cultural field implies being able to design an album just as well as an identity for a Biennale in all of its complexity, editing and designing books, lecturing and selling self-initiated artworks or curating exhibitions. Throughout my career, my income has fluctuated a little with minor sources of revenue coming from shared profit (in the case of Adobe for example) and also other forms of payment that don't always involve money, such as exchanging one vinyl packaging for a full collection of records from specific labels! There are always big budget projects and smaller passion projects.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

This question is tricky! It took me about two years of designing endlessly, meeting different people and working in different environments to feel confident in even saying that I was a graphic designer. By promoting The Royal Studio's work, establishing connections, pushing its international presence, providing workshops, teaching and making connections, it was only about five years after starting my practice that I felt comfortable tackling any new project, big or small. Now, after ten years, I can truly say that I am happy and secure in designing in different scenarios, across diverse teams, flying worldwide, coordinating, designing, aiming for unexpected ideas and mindfully dreaming up concepts independent of size, scale, performance, material or spatial physicality.

What advice would you have for young people interested in pursuing a role in graphic design today?

That there is no neutral room and no neutral discourse, just the same as there is no objective room nor objective discourse. Hold tight to your particular oddities and subtleties as an individual. Sketch or write daily. Eat burritos and please, please, please never underestimate the importance of going out on a Friday evening. And then this: 1. Don't keep it simple. 2. Overthink. 3. Research first, sketch second. 4. Come up with a solution. 5. Don't trust it. 6. Throw it all away. 7. At this point, don't overthink and, let self-certainty drive you 8. Mistrust the world 9. Cocktail your work—mix it up and spice it up! 10. Whatever it is, take it tremendously seriously and don't ever forget to dance. 11. Take risks!

George Dalziel is the senior A&R manager at Virgin Music and founder of the LG105 imprint, with signees including Mall Grab, Kettama and Steel City Dance Discs.

How did you get your start in this industry? How long have you been performing this role?

My first role in the business side of the music industry was in 2010, when I moved from the UK to Australia aged 25 and worked at Shock Records, where I was eventually promoted to label manager. In 2013, I moved to a role as label manager for Caroline Australia, Universal's label services division. I ran the marketing department as well working in A&R, licensing artists and labels to Australia and New Zealand and signing domestic artists. I worked with and broke artists such as Glass Animals and Mac DeMarco into the Australian market.

In 2019, I was relocated back to the UK with Caroline and in 2021 Caroline International was rebranded as Virgin Music. I currently have two roles at Virgin UK, running LG105, an imprint label that I founded in 2020, and A&R for Virgin Music, predominantly looking after dance/electronic artists. Artists and labels under LG105 include Mall Grab, Steel City Dance Discs, Scarlet Tiger, Duke Boara and Joe Turner.

What are the demands of your role as an A&R manager?

In the first instance, my role involves signing artists to the roster. Modern A&R has changed significantly, particularly in the label services sector. Nowadays, for the most part, artists managers and lawyers approach A&Rs seeking a deal for their artists. We still of course seek new talent ourselves and have systems that allow for artist discovery. Personally, I don't lean on data to seek new artists, however we can use it to measure insights and make decisions that might help dictate a deal or highlight where an artist is currently positioned.

Once interested in signing an artist, I'm tasked to liaise with our business affairs team and send through deal terms to offer a contract. Once signed, I guide the artist through the creative process and artistic development, usually alongside artist management. This entails everything from ensuring the repertoire is sounding the best it possibly can within the project budget as well as overseeing all associated creative, artwork, videos, mixing, mastering etc.

A&Rs are the conduit between artist and label/ distributor. We're the artist's voice within the label or distributor.

How do you help artists in your role?

My role as an A&R is a collaborative effort with the artist to help guide them through their creative process. Every artist has a different approach and level of foresight. Some are very sure of what their vision is, others need more encouragement. A large part of my job is to ensure I help them achieve their vision. Giving an artist confidence to achieve this and support when needed is a key attribute to a good A&R. You can forge very close relationships to your artists and their A&R as the desired end game for everyone is success. Emotional support and career guidance are equally important.

What sort of person do you need to be to be a successful A&R manager? Are there any prerequisites (education, courses, etc)?

You need to listen to your artist, their vision, their needs and assist them on that journey. Experience in understanding deal structures and the economics of the record business are vital.

You need plenty of energy and enthusiasm and to be willing to take risks. Believe in yourself and think outside the box for your artists. Push their boundaries and take the artists out of their comfort zone.

Interpersonal skills are super important, you need to be a good communicator. A&Rs are a soundboard for artists. Having close trusted relationships with your artists will help bring the best out of their talents.

In my opinion, there aren't courses or prerequisites for A&Rs that are relevant. You can't teach what makes a good A&R, it comes with on the job experience. The learning is constant and the industry ever changing so keeping abreast of all trends and developments is key.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

My employer pays me for my work, not the artist. Most A&Rs are on a salary, and some may have a bonus structure or even points (percentages) on the recordings.
It can vary and can often depend on how much you've contributed to the recordings.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

I don't think you can ever feel too comfortable as an A&R! It's a job that keeps you on your toes. You win some, you lose some, you're constantly learning and wanting to achieve success for yourself and of course your artists.

It's hard to know or put a finger on when I felt I'd reached a level of proficiency, but my gauge is the fact that I'm still doing it.

The fact that artists and managers are wanting to work with me, trust me and allow me to make decisions that will affect their careers are signs that I can offer a level of expertise. It's a responsibility I will never take for granted.

What advice would you have for young people interested in becoming an A&R manager today?

Put yourself out there! Think of ways in which you can show professionals in the music industry that you trust your chops and that you know and understand the current trends in the music landscape. Create playlists, blogs or anything that shows your personal taste. Read about the industry as much as possible and have a sound knowledge of the music business. And don't give up. There are many sides to being an A&R and it's not always the most rewarding of careers. You have to be thick-skinned and follow your gut; don't read too much into data as a means of artist discovery. If you like an artist, believe in them and can understand how you'd execute their progression (not only sonically but how you'd position them), you can market and promote them.

Chanel Kadir is a music publicist and director of Dawn Creative Agency. Her clients include Dekmantel Festival, DJ Python, Azu Tiwaline, T4T LUV NRG, Timedance and Rhythm Section.

How did you get your start in this industry?

I fell into the music industry by chance. When I finished my fashion journalism degree, I went straight into fashion PR, working for a small boutique agency where I was miserable! Someone I used to work with got me on board to help out with writing for their music blog alongside my job and through that, I was invited to write about and attend the first Junction 2 festival in London. It was there I met the legendary Listen Up events team and applied to do an internship with their artist press team. This was in 2016.

What are the demands of your role as a publicist?

Strategy is the biggest part of your role as a publicist and with that in mind, it can often be challenging to balance the long-term trajectory and short-term wins for the release/ moment at hand. You want to always be playing the long game when it comes to press as most of the bigger features/career milestones only come around once and you want to ensure that you aren't utilising those opportunities too early in an artist's career.

It can be quite demanding in terms of time as well. The urge to constantly be switched on, checking emails for important updates and always keeping an eye on social media or news outlets for breaking stories, often across different time zones. You have to remember to take some time to yourself offline as well. It's not an easy task when the world is moving at 100 miles an hour but those small, mindful moments will certainly help you in the long run.

How do you help artists in your role?

We help artists tell their stories in a way that works for them. An artist's narrative and public image are so important to them, so a publicist helps with gaining some control around how they are presented within the media. There's a level of guidance as well, especially with new artists and helping them understand how to navigate the press and how a promo campaign works. I've worked with a lot of artists who have anxiety when it comes to dealing with the press and a good publicist is there to settle those feelings and make it an easy process for them. Whether that's doing email interviews only, pulling together editorial guidelines, approving quotes for fact-checking purposes, or cross-checking to make sure that the journalist or platform is a good fit for the artist's story.

The role all comes down to strategy, essentially. When working with an artist for the first time there will be a lot of meetings before the campaign begins to discuss aims and goals, both short and long term, and trying to understand what the key moments are in their year (mainly when you are working with someone on retainer, i.e. all the time and not tied to a release). With releases, it's good to get an idea of what their long term release schedule is like. If you are working with them on an EP and they have an album coming in six months to a year, you want to do less around the EP and focus on building their profile and then when the album arrives you have built a solid foundation to yield those bigger features.

What sort of person do you need to be a successful publicist? Are there any prerequisites (education, courses, etc)?

I wouldn't say education, in the traditional sense, is required to be a successful publicist. I wish I hadn't gone to university and that I started my career sooner. I think the best education you can get is through simply getting yourself out there—attending events both at gigs and nightclubs, as well as publications and branded events for launches, meeting the editors, journalists and artists you want to work with out and about and properly immersing yourself in the culture. There's no better way to learn! I also think it's beneficial for a publicist to know what's going on in other fields from fashion to art to food. You never know who you will be working with and being on the pulse of what's going on in other industries will help give you different perspectives for your campaigns as well as come up with creative, out of the box ideas for your artists and where and how they could be featured. It's also so important to read all of the key magazines you are pitching to. Read as much as possible! Get to know what individual journalists like to write about as it will be much easier to pitch to them when the right moment comes.

I also don't think you have to be a particular kind of person. I always had this preconceived idea that you needed to be some larger-than-life character who was incredibly outgoing and extroverted (maybe that's the influence of Sex and the City), but I've met people in this role who are introverted and deal with a lot of social anxiety, like me. If you love what you do, your passion ends up shining through and people tend to gravitate towards that. It's infectious and I feel that artists and journalists really appreciate that the most!

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

It will be either the artist, record label or festival/event, it really depends on the campaign. A lot of the time when we are working on releases it will be the label that covers it. We have different fees depending on the campaign type, including monthly artist retainer, EPs, LPs, and festival/ event. We also cover radio plugging and DJ servicing within our release campaigns so the EPs/ LPs have different tiers when it comes to the fee and we discuss all of these with the client so we understand what they are looking for before proceeding with a proposal. The fee, in general, goes to the agency (unless you are working on your own of course which a lot of PRs do nowadays), and then the publicist will have a set salary (in my experience). Depending on the agency, the fee to the client will either be a monthly cost or set per release/event.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

Hmmm, I suffer really badly with impostor syndrome and have to pinch myself on a near-daily basis that everything I'm doing is real and that I deserve it. It's all happened so fast that I can find it hard to process sometimes. That said, since moving back to London in May last year, I have really started to feel comfortable in my role. Perhaps that is to do with being able to go out and meet people in real life again, catch up with my artists, and see the results of my hard work when I watch them perform. It can be hard to stay motivated as a publicist as it can be a bit of a thankless job at times but there's nothing better than going to see your artist play their dream gigs and perform their music live, and know that you had a part in it. I was also handed over the agency to run last year. It was daunting at first, but I knew it wouldn't have happened if Fallon didn't believe that I could do it. That's something I try to remind myself of every time the doubts creep in.

What advice would you have for young people interested in pursuing a role in publicity today?

Get yourself out there and meet the people you want to work with! Network, network, network and don't be put off the whole 'press is dying' spiel. It isn't dying, it just doesn't exist in the way it used to but such is life eh! It's actually such an incredible feeling helping artists share their work and the stories that are tied to it in a meaningful way. You get to make something that's so anxiety-inducing a comfortable experience for them and help them achieve some career milestones along the way, then share those victories with them.

Sebastian Manuel is the tour manager for Honey Dijon.

How did you get your start in this industry?

I started my career in New York City as the audio engineer for Danny Tenaglia in 2010. I met Honey around the same time, we became friends and collaborated on making music together. She eventually moved to Berlin and I remained in NYC but we continued our work relationship. I moved to London in 2018 and continued doing my audio engineering work for different artists, but in 2021, Honey was in need of someone she could trust to help when touring and asked me if I would be interested in being her tour manager. I was hesitant at first, given I didn't know much about what that position entailed, but I'm always up for new challenges and after giving it some thought, I gladly accepted.

What are the demands of your role as a tour manager?

There are a lot of preparations going on before any given event and everything has to go according to plan. The schedule is very tight and there's no room for errors. A car pick up that's five minutes late can make you miss a flight . My role varies from checking the drivers are on time to having the right tech at the club and everything else in between. It can be very stressful, particularly during Covid. Every country has their own set of rules and requirements, and if you overlook something, you can't fly and might miss a gig. The pressure is on.

How do you help artists in your role?

My job is to isolate the artist from any unnecessary distractions, so when on the road, I'm the bridge of communication between management, promoters, drivers, etc, and Honey if any issues may arise.

What sort of person do you need to be a successful tour manager?

I would say the number one attribute required to be a successful tour manager is being responsible. Without it, it would be impossible to survive a day in this business. Having social skills and being able to stay focused at all times is essential, especially if your work environment is a nightclub or festival.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

I've been tour managing for less than a year. I dove straight in during the summer 2021 festival season so I had to learn quickly. Mistakes were made in the beginning but I never make them twice, so that has helped me to be proactive and on the lookout for any possible issues before they even happen. One morning after an event in Paris, we were having breakfast and our car service was pre-arranged to take us to Paris' Gare Du Nord to catch the Eurostar train to London. I assumed our ride would be ready once we went outside but the car service made a mistake and the driver had a different pick up time. Eventually he was able to come get us; we were already behind schedule but we luckily made it for our train (but only just!) From then on I learned to always double or triple check everything and everyone and to never assume things will be as they're supposed to be. Luckily, Honey has a great management team that has helped guide me along the way. I'm still learning, in a way.

What advice would you have for young people interested in pursuing a role in tour management today?

My advice would be to network as much as possible and learn a set of skills that give you an edge over someone else. In my case I'm an audio engineer with a vast knowledge of music and DJ technology. Also be humble, professional and adventurous enough to always say yes to any new opportunities because they don't always come twice.

Simon Dawson, marketing COO at Defected Records

How did you get your start in this industry? How long have you been performing this role for?

Work experience. Like many, I imagine. After a one-month internship, I realised I hadn't learnt much aside from how the boss liked his tea and where the post office was, so I asked to stay on. They said I could stay for 3 months (for free) and it turned into a job that I stayed in for three years. I left there and started at Defected in 2008 and aside from a three year stint at BMG I've been at Defected ever since in a variety of marketing-related roles.

What are the demands of your role as COO of marketing?

Defected isn't just a record label, we're a record company, and almost a house music media company these days. We have the traditional label side of the business (with about ten individual active labels), the events, a publishing company, a radio station, an in-house magazine, a web-store, we make films, host multiple social media channels, etc. Each branch of Defected is very active, constantly requiring and delivering content in one form or another to their audiences.

Every element of the business requires planning, teamwork, management and creative input to fit into the overall strategy.

How do you help artists in your role?

We help artists across the board. If they're releasing music with us, we work with them on a timeline of promo pre- and post-release. We create content for their social channels and help with their social strategy. We create press campaigns and opportunities to widen their visibility and we try to plug artists into our wider activity so if they have a record with us, they could play at one of our events, host a radio show, do a live stream mix, takeover a playlist curation, feature in our magazine, etc. We like to create noise around releases and use all the available channels of promotion we have to our advantage.

We feel if we do a good job the artist will benefit, enjoy the process of working with us and be incentivised to release their next record with us. Then it snowballs and we can have long term agendas with artists where we can work their catalogue, sign them as a publisher, help them write new music, DJ at more events, etc. We can go on the journey with them.

What sort of person do you need to be to be a successful head of marketing? Are there any prerequisites (education, courses, etc)?

I have never done a course and my post-school education is in graphic design so I'm not sure academics are key to success. For me, a knowledge and understanding of the music, both current and historical, is key first and foremost. Knowing club culture and house music history is the prerequisite, really. Add to that a hunger to work hard, to be excited by new (and old) music and to be creative. Being friendly, reasonable, available and outgoing with artists and their team is key. You have to be able to deliver on a business level but also be able to hang out with them. That sweet spot where you have their trust is when collectively you can do the best work.

Who pays you for your work? What is your pay dependent upon (i.e. the different parties who might pay you, if applicable, whether your pay is performance-based, involves a commission fee or profit share, has it varied much since you began your career?)

Defected Records pay my salary.

How long did it take for you to feel comfortable in your role and like you had attained some level of proficiency or expertise? What helped you reach this point?

Along the way, you get a sense of if you're doing things right or wrong and you're usually told if things are going wrong. When records or compilations sell well or artists tell you they're happy, that the team did a great job and content is received and engaged with well, you automatically feel the confidence to do it again and tweak certain things to ensure the next campaign is equally as successful. But we're not a company to put our feet up and bask in any success. There's always something that has the potential not to perform or that needs fixing, setting up or delivering for the next project.

I knew I was onto something when Judy Weinstein [Def Mix co-founder] once told me "Frankie would have been proud," after I put together the posthumous compilation of Frankie Knuckles' productions and remixes. I was good with that one.

What advice would you have for young people interested in pursuing a role in marketing today?

Have a passion for the music you're wanting to work in. Go out, understand the culture of nightlife. Work for people or a company that you're interested in and artists that excite you. Being social media literate is a given these days but understand the importance of tone of voice and using different platforms to communicate to audiences in different ways.