November Workshops :
Meet The Speakers
Our latest series of music industry workshops at Lanzarote Works kicks off next month! Tickets and more info on the workshops here.
This Autumn, we’ll be hearing from pros working in production, PR, record labels, artist management and festivals to help you understand more about the roles out there and crucially, how to get your foot in the door.
Let’s get to know some of the speakers that’ll be heading up the roundtables...
Melanie Xulu, Bad Vibrations / LNZRT
Firstly, what is your current job role?Event Programmer & Production Coordinator at Bad Vibrations and LNZRT
And on the side - editor at MOOF Magazine, music reviews writer for the Idler, community radio show host and part-time DJ.
And how did you end up in that line of work?
I've been working in live music for almost 10 years now. Having started out putting my own small DIY shows on with my magazine MOOF when I was around 17 in Devon (I had a show on Soundart Radio, an amazing community radio station in Totnes at the time). When I moved up to London I started a show on Soho Radio and was promoting MOOF shows at venues like Helgis, The Victoria, The Social, New River Studios and Walthamstow Trades Hall.
What was your first job in the music industry?
Festival Assistant at End of The Road. I was struggling to find a job after uni and it was Covid so I had signed on at the Job Centre in Hackney, during one appointment they mentioned a music festival had a job opening, and it was End of the Road! So I applied, got an interview, and got the job. It was through a government scheme at the time called Kickstart which provided funding to employ young people on universal credit during the pandemic. It was the best first job in the industry I could have asked for, I learnt so much about running a music festival and all that goes into it and I'm really grateful for that.
What’s your favourite thing about working in music?
So many things! The bands and artists, independent music venues, the people that work so hard to make grassroots gigs and live music happen, and of course discovering new music and getting to go to shows all the time.
What piece of advice would you give to your young self when you were trying to get your foot in the door of the music industry?
If you don't ask, you don't get!
What change would you like to see in the music industry?
Fairer pay, more inclusivity, more diversity, safer gigs for women, trans and non-binary people, less nepotism and more working class artists.
Your proudest moment in music so far?
When I worked at Festival Republic as Technical Production Assistant. I'd never worked on events of that scale before (Reading & Leeds, Latitude, etc). The show was in full swing and we went up to the top of the FOH tower and looked down on a crowd of 15,000 people. My colleague and I advanced and produced the whole show - the stage, lights, screens, rigging, crew, etc. It was amazing to see it all come together and in that moment I was like "Wow, I can't believe we did that!"
More recently with Bad Vibes / LNZRT I've had the pleasure of producing Angine De Poitrine's first London show at Electric Ballroom + 2x sold out shows at Troxy. Also doing a show with the Shania Twain at the Shacklewell Arms earlier this year was a great moment!
Finally, what’re you listening to at the moment?
The new album from Eleanor Moss is really beautiful.
India Shaw
Firstly, what is your current job role?
The European Project Manager for Fat Possum Records. Overseeing the creative, marketing and distribution for every release on the label, across UK and Europe.
And how did you end up in that line of work?
Record labels are the part of the industry I have always been most interested in - getting to work directly with artists and build a world around their record - but initially the prospect of working for one felt out of reach for me. I studied Music Journalism (a short-lived fantasy) at uni, which definitely didn't benefit me when applying for jobs outside of Journalism. However, the experience of regularly talking with people in music gave me more confidence when going for a broad range of internships and experiences, and those helped me get my first job. I started in the live sector, which I loved, but then the pandemic hit and live shows stopped. It was around that time that a new junior role at one of my favourite labels popped up, at which point I felt like I had enough under the belt to go for it.
What was your first job in the music industry?
Officially (after all of the unpaid work), the marketing person for a London promoter. As with most independent companies, the team size was humble, so my role also bled over to others, including booking and repping shows. What’s your favourite thing about working in music? Being part of something you are really excited about, that starts small and turns big.
What piece of advice would you give to your young self when you were trying to get your foot in the door of the music industry?
Do whatever it takes to show your strength; if you're good with people, organise a show; if you're a tech-head, pull out a data report in an interview; if you're organised, try to manage a new artist. Fake the confidence til you make it.
What change would you like to see in the music industry?
The list is long. How about more 50+ women lasting in the industry (seriously, where do they go? We need them).
Your proudest moment in music so far?
Being trusted with a whole continent for a record label.
Finally, what’re you listening to at the moment?
The new Gilla Band album on repeat.
Owen Bloodworth
Firstly, what is your current job role?
I'm currently Head of Press at PACK, where I oversee the day-to-day running of the press department and lead PR campaigns for some incredible festivals, including City Splash, Snowbombing, Hideout, Field Day and Cross The Tracks.
And how did you end up in that line of work?
Around 11 or 12 years ago, I started an internship at a company called Listen Up, which predominantly worked in artist PR but also looked after events. I basically learned the ropes there, got stuck into everything I could and eventually turned the internship into a full-time job. The rest is history really!
What was your first job in the music industry?
My first job was that internship at Listen Up. It was a great introduction to the industry and gave me the opportunity to learn how music PR works from the ground up. I ended up staying on full-time, which really kickstarted my career.
What's your favourite thing about working in music?
Music has always been a massive passion of mine, so getting to work in an industry I genuinely love is something I never take for granted. Particularly on the events side, there's an incredible feeling that comes with seeing something you've spent months working on finally come to life. Seeing thousands of people having the best time, watching artists you love perform and knowing you've played a part in making it happen is pretty special. I've also met some amazing people along the way, which is a huge part of what makes the industry so enjoyable.
What piece of advice would you give to your younger self when you were trying to get your foot in the door of the music industry?
Keep going, keep making connections and be open to every opportunity that comes your way. It's taken me a long time to get to a position where I'm predominantly working on artists and events that I genuinely love and believe in. There were plenty of years when I was working on things that weren't necessarily my cup of tea, but every experience taught me something and helped me get to where I am now. Go to events, meet people, ask questions and don't be afraid to put yourself out there. You never know where a conversation or opportunity might lead.
What change would you like to see in the music industry?
I'd love to see much greater diversity across festival and event lineups. There are some brilliant promoters and events making a real effort to champion women, LGBTQIA+ artists and artists from underrepresented backgrounds, but there's still a long way to go, particularly when it comes to the bigger festivals. Too often we see the same straight, white male DJs dominating headline slots while incredibly talented artists are overlooked. Things are improving, but the industry needs to do much more to make sure lineups genuinely reflect the diversity of the music and the people who make it.
Your proudest moment in music so far?
I've been lucky enough to be involved in some incredible events over the years, and there's always a huge sense of pride when you see something you've worked on come together. Two moments definitely stand out, though.
The first was picking up the Best Small Festival award for Wide Awake at the Rolling Stone UK Awards. Sitting in a room full of celebrities, collecting an award for something we'd worked so hard on was pretty surreal. There was definitely a bit of imposter syndrome going on!
The other was putting together Sammy Virji's first DJ Mag HQ session, alongside securing his DJ Mag cover. Looking at where Sammy is now, it's amazing to think that those moments played a part in his journey. It definitely felt like a real turning point in his career, and it's something I'm incredibly proud to have been involved in.
Finally, what are you listening to at the moment?
I'm listening to a lot of the new music from Bexblu and Paul Stephan, who I'm currently working with on their upcoming album. They're making some of the most exciting UK hip-hop around at the moment. Paul is an unbelievable rapper who's been getting some serious recognition, including a co-sign from Skepta, and the production coming from Bex is next level. It's a really exciting time for both of them, and I genuinely think they're ones to watch.