PRS M Magazine - Future Makers Edition - flowerovlove

flowerovlove

Music with heart

FUTURE MAKERS EDITION

Dead Pony

Master Peace

BBC Introducing flowerovlove

25 years of PRS Foundation

JayaHadADream

Sukha

A roadmap for music career sustainability

Ayra Starr

Ben Nobuto

Bambie Thug

How music education is shaping the future of the industry

Sam Tompkins

Yunè Pinku

Barry Can't Swim

Jamal Green

Hargrove

prsformusic.com/m-magazine

Editor: Maya Radcliffe

Content Editor: Sam Harteam Moore

Art Director: Carl English

Creative Manager: Paul Nichols

Sam Tompkins at the Hammersmith Apollo (Photo: Mitch Peryer)

Cover photo: Finn Waring

HERE'S TO THE FUTURE

As I reflect on my time as president of the PRS Members’ Council, I feel inspired by what lies ahead for our diverse community of music creators and innovators. The future of music will not just be shaped by creative trends and evolving technology but by the strength, resilience and vision of those who make it. Over the past four years of my presidency, I’ve had the honour of witnessing first-hand how PRS members are leading the way by driving change in ways that will define our industry for generations to come.

My focus from the outset has been on listening to the PRS membership. In the first year of my term, I engaged with over 2,000 members to better understand their priorities and challenges, ranging from the fairness of streaming and the rise of AI to income protection and new opportunities for growth. The insights I gained have been invaluable in creating and guiding initiatives that help ensure PRS continues to offer actionable support for members as they navigate an increasingly complex industry landscape.

Hosted in cities across the UK, PRS Members’ Days continue to bring together members, influential industry figures and PRS for Music’s senior leadership team for opportunities to learn, exchange ideas and foster lasting connections. In 2023 we launched PRS Connects, a focused space for entrepreneurial members to gain access to industry experts and explore paths to sustainable careers.

Our vision also extends far outside of the UK. As the music world has become increasingly global, so too has PRS. Through initiatives in west Africa, south Asia and beyond, we’ve been empowering members far and wide with the tools they need to navigate diverse markets, expand their communities and sustainably build their careers.

As a proud advocate of creators, championing PRS members has been one of the greatest privileges of my role. Whether facilitating collaboration through songwriting camps, speaking about the importance of music education at Downing Street or celebrating the excellence within our community in print editions of M Magazine — including 50 Years of Hip Hop, Black History Month and the issue you’re about to dive into — I’m regularly reminded that the future of music is dynamic, inclusive and powered by the spirit of its creators.

Thank you to everyone who has been part of this exciting journey during my presidency. As PRS continues to evolve, I am confident our community will keep innovating, inspiring and defining the next era of music together.

Michelle Escoffery President of the PRS Members' Council

Michelle Escoffery photo: @shotbyenoma

PASSION, PERSEVERANCE AND ANTI-PUNK DEAD PONY

Words: Sophie Williams

Anna Shields and Blair Crichton discuss the four-piece's breakout year, the impact of PRS support and how their future feels ‘boundless’.

Standing together in the middle of a vast, heaving festival field in Gloucestershire on a sweltering Thursday afternoon in July 2023, the four members of Glasgow’s Dead Pony made a pact. Watching on as punk duo Bob Vylan performed on 2000trees’ main stage, the band were captivated by their thrashing drums, heartraising stage presence and pulsing stage light display. Something undeniably magnetic was in the air, inspiring a feeling of change and renewed optimism.

‘The crowd was massive, and everyone was jumping. It was just incredible,’ vocalist Anna Shields recalls. ‘I stood there like, “Oh my god, I want this to be us on stage — but that’ll never happen”. And you know what?’ She pauses, laughing gently. ‘Our manager turned to us a few months later and was like, “You’ve got the main stage slot at 2000trees”. In a year, we went from playing the new music stage to the biggest stage at the festival. It still feels unreal.’

Dead Pony are on the precipice of becoming the UK alt scene’s standout new act. In the months leading up to their coveted 2000trees slot this summer, the band — comprising Anna, guitarist Blair Crichton, bassist Liam Adams and drummer Euan Lyons — laid waste to dozens of other major festivals on the European circuit, including Rock For People and Pinkpop. In a live setting, their collective focus is on riffs and rocking hard: Anna is a bellowing firestarter on stage, running around and raging away so intensely that you fear for her blood pressure.

Photo: Euan Robertson

‘Putting out Ignore This remains my biggest achievement in life.’

In April, the band released their staggering debut album Ignore This via LAB Records, a wide-ranging effort that incorporates everything from angular, grinding rock (COBRA, AWOL) to Enter Shikari-esque electro crossover (MK Nothing). The road to that record began long before Dead Pony formed in 2020, dating back to when Anna and Blair performed under various aliases around their local scene in Glasgow. Initially experimenting with indie music, the pair then leaned into far heavier territory before recruiting Liam and Euan for what would become Dead Pony.

‘Putting out Ignore This remains my biggest achievement in life,’ Anna tells M. ‘We’d been working on it for so long, exploring so many sounds and trying out different things while trying to find ourselves and who we are as a band. It was validating to be able to show everyone that we could make an album that people could resonate with.’

Recorded in rural northern Scotland and produced by Blair, Ignore This was created with the support of the PPL Momentum Music Fund, a grant designed to help music creators realise their potential. As a staunchly independent band, this financial boost was integral to Dead Pony’s ability to finish their debut, says Blair.

‘The gratitude that we feel towards PRS is immense,’ he continues. ‘When it comes to applying for funding, one way that we have benefited massively is by being so clear and concise with what we want to achieve. Having a real plan is so valuable. Without the Momentum Music Fund, we probably wouldn’t have been able to record our album the way we wanted to.’

The band are also keen to point out the importance of registering their music and reporting their setlists to PRS for Music, providing two key streams of revenue in terms of royalties. The latter is particularly vital given Dead Pony’s often packed live schedule, which gave them the chance to test out new material prior to the release of Ignore This. The response, naturally, was emphatic. Over time, the band have garnered a young and committed audience. As we speak, Blair lifts his wrist to show off a handmade bracelet he was recently gifted by a fan.

‘The album hasn’t been a viral sensation, but that doesn’t matter to us,’ he says. ‘We have people at our gigs who know every single word and really believe in the music we are making.’

Photo: Euan Robertson

‘We have people at our gigs who really believe in the music we are making.’

After laying down some demos for the record, the band threw themselves into touring entirely. In March 2023, they flew out to Austin, Texas to perform at SXSW, marking Blair’s first-ever visit to the US. Having been able to finance their trip via PRS Foundation’s International Showcase Fund, they played a series of official showcases and used periods of downtime to attend songwriting seminars and revel in the delights of the city’s food scene. The group returned home feeling ‘totally energised’, says Anna, with a shared understanding that the experience of playing live stateside was an important step towards unlocking their future.

‘When we went to SXSW, we were at a stage in our career where we hadn’t released an album, or even many singles at that point,’ she explains now.

‘There was no way that we could have afforded to actually go out there without the help of PRS. We played some amazing shows that helped boost our confidence massively, meaning we could move towards our album with a clearer vision.’

Ignore This was named after the exhausting, allconsuming nature of feeling underestimated as musicians, a theme the album both satirises and plays into. In their time together, the band have overcome a multiplicity of hurdles, from line-up changes to balancing day jobs alongside their ascendant career. Moreover, Liam broke his arm in June while on tour in Germany with Against The Current. Yet instead of cancelling shows, Dead Pony temporarily brought in a replacement bassist and persevered — a move that only strengthened their bond as a unit.

This determined spirit flows over into the new music Dead Pony are currently working on, songs that they say are characterised by gut instinct and their soaring ambition. For the first time, the band have started to bring external producers into their creative orbit, born from a desire to shift towards a more collaborative approach.

‘The next record is going to sound so fresh,’ Anna concludes. ‘I want to get a bit heavier with our sound. You know, even after all this time, the possibilities still feel boundless.’

Dead Pony performing at the British Music Embassy at SXSW 2023 (Photo: Tynesight.co.uk)

Words: Felicity Martin

The 2024 Ivors Rising Star Award winner talks full-circle moments, career ambitions and being besieged by autograph hunters.

Master Peace wants to be the alternative kid who cracked the mainstream. ‘If [my music] can sit in the world of a Dev Hynes, Santigold or M.I.A., then that would be impressive for me,’ he tells M, typifying the ambition of the artist born Peace Okezie.

Peace followed up the release of his debut album How To Make a Master Peace (which broke into the UK top 30) by picking up the prestigious Rising Star Award at The Ivors in May 2024. Now, having ‘manifested’ that particular prize, he’s already thinking about the next accolade.

‘It’s the way I was brought up,’ he says. ‘Because I’ve come from nothing, the crazy things that a normal artist would be happy about, I’m always looking at, like, “How can I top that? What’s the next thing?”’

Peace’s broad outlook tallies with his unique way of melding genres and influences. Take, for instance, the 2018 clip of him rapping over an instrumental of A-ha’s Take On Me for grime series The Lift, or his ability to splice together nostalgic genres including nu rave, electro house and synth pop on tracks such as Eyes On You and Shakedown The resulting sticky, sweaty sound takes further influence from the Skins-inspired teen house parties of his youth, which were soundtracked by the likes of Bloc Party and early Calvin Harris.

He’s now experiencing full-circle moments from that era. Peace supported Kasabian, a band he grew up listening to, during the latter’s outdoor homecoming gig in Leicester this summer. ‘[Serge Pizzorno] said, “I listen to your album all the time,” and I was like, “You were an influence on that album!”’

how maketoa MASTER PEACE

Photo: Royd Ringdahl

‘I’m not one of those artists who is scared about performing.’

His childhood also had a bearing on this push and pull of ideas. Growing up in south-east London before relocating to the sleepy suburb of Morden, there was little musical common ground between his school friends, who listened to The 1975 and Arctic Monkeys, and his ‘hood’ friends. He was the only one, he realised, who listened to both Paramore and rap: ‘I’ve got so many influences that I can make a good rap song, but also make a good indie song, a dance song... I’ve always been tapped into different cultures.’

As someone who’d jump at the chance to get up in front of the class at school, performing came naturally to Peace. ‘Playing live is my favourite thing to do,’ he says. ‘I think you can read by the vibe I give off when I’m performing that I’m having a great time, because I genuinely am. I’m not one of those artists who is scared about it, because that’s the stuff that I enjoy. So I want to get into it properly, and not hold back.’

In June, Peace joined The Streets’ Mike Skinner on stage at Glastonbury to perform their collaboration Wrong Answers Only. ‘It was a sea of people out there, and I knew it was going to be on TV, so in my head I was thinking “Yo, if I fuck this up, I’m cooked.”’ Any post-performance anxiety melted away as soon as he got off stage, though, as Ellie Goulding came up to tell him: ‘You smashed it.’

Peace has been repeatedly referred to as a ‘rapper’, despite it not being an accurate label for either his sound or his MO. While he initially started out in that world as part of an underground rap collective, he soon realised that, creatively, he was more drawn to pop and indie. That transition wasn’t without its own drawbacks (‘Everybody in that scene was friends with each other… whereas me, I’m on my own’), and it’s something Peace has written with Rachel Chinouriri for a forthcoming single that explores feeling overlooked as a Black artist in a predominantly white scene.

‘[Rachel] said, “It just feels like that’s how it is,”’ Peace explains. ‘It’s very hostile, trying to get your flowers. I don’t know how it was for Blood Orange and all those other people. For me, though, it felt long; I was just like, “Bro, is this even worth it?”’

Photo: Royd Ringdahl

As well as Rachel, Peace has recently worked with the likes of TSHA, Metronomy and US artist Wale — the latter collaboration coming to fruition after the rapper heard Peace’s music playing on BBC Radio 1. This expansion of his creative network is mirrored by his burgeoning fanbase, who, Peace says, continue to surprise him.

‘Even this past weekend, I didn't even know people still did autographs,’ he says. ‘There were so many people coming up to me asking, “Can you sign this, can you sign that?”’

Having found his footing in the industry, Peace remains grateful to organisations such as PRS for Music in terms

of the support and resources they can offer to music creators at every stage of their career. ‘It’s really helpful for independent artists, giving them funding and helping them get on their feet a bit,’ he says. ‘I’ve seen PRS help smaller artists get their foot in the door, even by helping them buy equipment. I think that’s sick.’

For an artist as ambitious as Master Peace, it’s no surprise to hear that he’s already got his eyes on the next prize: a hit single.

‘I want to smash! I want to hit!’ he says. ‘It’s like, “Cool, you’re an established artist, that’s great”. But I want a tune that’s just ringing off everywhere. For me, that’s the next thing. But only time will tell!’

BBC INTRODUCING

The new music discovery platform ‘worth its weight in gold’

Words: Emily Pilbeam

Despite the prevalence of streaming, the ‘career-changing’ radio network is more vital than ever, as five of its regional presenters explain.

When I first started at BBC Introducing back in 2016, presenter Alan Raw was clear: it’s all about the music. ‘We are merely fans of these artists,’ he reminded me. ‘We just so happen to have a microphone in front of us so we can tell more people about them.’ It’s an ethos that has stuck with me to this day.

Since launching in 2007, BBC radio’s new music discovery platform has helped champion the likes of Little Simz, IDLES and Ed Sheeran at the early stages of their careers — not to mention 2024 Mercury Prize winners English Teacher.

The band started their BBC Introducing journey with us back in 2019, when we at BBC Introducing West & South Yorkshire (now Leeds and Sheffield) played the first upload from the group then known as Frank. After a name change and a PRS Foundation PPL Momentum Accelerator grant, the band started gaining momentum with radio play and media coverage, eventually earning a coveted spot on the BBC Introducing Stage at Glastonbury in 2022.

English Teacher returned to BBC Introducing two years later to deliver a beautiful live session to celebrate their award-winning debut album This Could Be Texas It marked something of a full-circle moment for both parties, underscoring how vital BBC Introducing is when it comes to championing music creators across the various regions of the UK.

‘It is so important that regional music can go up against the bigger cities, because the artists are just as talented,’ says Angelle Joseph, who presents BBC Introducing Norfolk and Suffolk. ‘When given the same opportunities as artists in those bigger cities, our acts do really well. A national platform like BBC Introducing gets rid of favouritism, giving each area equal chance through a dedicated [music submission] inbox. This will then be received by a presenter or producer, who will then likely root for a particular local artist for no extra gain other than that they literally believe in their music.’

‘Airplay is still a magical thing.’ – Adam Walton, BBC Introducing Wales

IDLES performing on the BBC Introducing Stage at Glastonbury 2022 (Photo: BBC Introducing / Ruth Medjber)

As well as the English regions, BBC Introducing’s shows in Wales and Scotland — not forgetting BBC Radio Ulster’s ATL Introducing programme, formerly Across the Line — are constantly supporting incredible acts from their respective territories. Adam Walton, of BBC Introducing Wales, says one of his career highlights was watching Catfish and the Bottlemen ‘go from being 15-year-old kids having to hide backstage in their local venue because they weren’t old enough to be inside to headlining the UK’s biggest stages’.

‘The fact that there is now a much more direct and accessible route for music makers from Wales to have their music heard across the UK and internationally is exciting for, and valuable to, Welsh artists,’ he adds.

Aine Cronin-McCartney, who works on ATL Introducing, holds a similar view. ‘Being able to offer a significant platform that is free to access not only helps to remove barriers but provides new and unsigned acts with exposure they might not get otherwise,’ she tells M. ‘This support can be crucial and career changing, particularly in regions such as Northern Ireland where opportunities can be very limited.’

Aine cites Belfast-based rapper and artist Jordan Adetunji as one such success story. ‘ATL Introducing have been huge supporters and fans of Jordan from the beginning of his career, from playing his tracks on the show to selecting him to showcase at festivals and putting him forward for national support. Jordan performed at our BBC Introducing Live night along with Snow Patrol in 2023, and this year he’s now taken over the world with his hit Kehlani.’

With over 280 million Spotify streams and counting, Kehlani marks a real triumph for both Jordan and the Northern Irish music scene — especially given that, as Aine explains, there’s a ‘clear lack of infrastructure and support for the arts and music in NI’ which makes it ‘almost impossible for artists to break through’. While this often means that many Northern Irish artists can feel ‘isolated’ from the larger UK music industry, platforms like BBC Introducing ‘can very much help bridge that gap’, she adds.

Similarly, BBC Introducing in Scotland co-host Phoebe Inglis-Holmes says that their nation ‘is often critically underrepresented’ when it comes to new talent.

‘BBC Introducing is an absolutely critical gateway to discovering how much talent lies within this country,’ Phoebe says. ‘No artist, band or creative wanting to build a career in the arts should have to move to the capital of England just to be in with a chance of getting some recognition. Talent is homegrown in all four corners of the UK, and I’m so proud that BBC Introducing recognises that.’

Prior to the digitisation of the music industry, radio played a hugely significant role in making or breaking new artists. But in the age of streaming services, radio’s importance to the industry has had to be redefined. Platforms like BBC Introducing, though, still have a pivotal part to play in new music discovery.

‘BBC Introducing has strong links to major players in the music industry and is a trusted voice when it comes to finding artists who are viable and exciting for labels, agents, management companies and more,’ Adam stresses.

Above: English Teacher performing on the BBC Introducing stage at Glastonbury 2022 (Photo: BBC Introducing / Amy Heycock)

‘It is so important that regional music can go up against the bigger cities.’

– Angelle Joseph, BBC Introducing Norfolk and Suffolk

This is still incredibly important at a local level as well, as Angelle explains: ‘Venues, promoters and other creatives know they can trust BBC Introducing and get acts we’ve co-signed to be part of other things locally. They trust our ears, and we can help support emerging artists in their creative journey.’

Dean Jackson, who helms the Beat team for BBC Introducing East Midlands (responsible for helping break the likes of Jake Bugg, Holly Humberstone and Hard Life), agrees: ‘Local festivals and venues use our playlists to approach artists, and our show has a presence in the local scene in terms of helping curate festival stages and industry panels. We also work in a number of colleges, too.

‘The fact that I can pick up the phone and talk to the central BBC Introducing team and ask for national support for a local artist who is blowing up and needs that extra exposure is worth its weight in gold.’

For Adam, ‘airplay is still a magical thing’: ‘Connecting artists to an audience via their most brilliantly realised works is the most obvious service we provide, but also the most magical.’ On a practical level, Aine feels that BBC Introducing support can help with ‘career planning and trajectory, helping to mark clear milestones for acts when they feel lost and overwhelmed by the music industry… Getting those first plays on a regional show, which can then be platformed on a national show, is such an important moment for artists’.

Angelle agrees: ‘If artists know they can progress their career with BBC Introducing, it serves as encouragement. It allows them to feel like we are listening to them beyond their music.’

BBC Introducing can open so many doors for new and emerging artists. Up in Scotland, Phoebe tells M, producer Louis Seivwright had been ‘uploading his beats to us for months. One of them got spotted and supported by DJ Target during BBC 1Xtra’s UK Touchdown Tour. He loved Louis’ tune so much that he ended up asking him to make all of the beats for the 2022 season of The Rap Game.’

‘BBC Introducing is here to celebrate a diverse array of voices and sonic imaginations, regardless of region, genre, ethnicity, gender or socioeconomic background,’ says Adam. ‘We’re here for you: we want to hear your music, and we want to see you thrive. So what are you waiting for? Get uploading.’

TIPPED FOR '25

Here are a few tips from BBC Introducing presenters for acts to watch out for in 2025:

DEAN JACKSON (East Midlands):

Alessi Rose: Alt-pop artist blending raw emotion with anthemic energy, capturing the euphoria and heartache of youth.

Paris Paloma: Gothic folk-pop artist whose literaryinspired tracks explore gender, passion and tragic love through haunting melodies.

Blood Wizard: Experimental project by Cai Burns merging punk, metal and folk influences into an avantgarde mix of dissonant and unpredictable sounds.

PHOEBE INGLIS-HOLMES (Scotland):

Fourth Daughter: Electro-pop act combining vibrant synths with reflective lyrics, crafting dynamic and energetic soundscapes.

Love, Shaun: Scottish producer infusing emotive, highenergy club anthems with deep, introspective themes.

ANGELLE JOSEPH (Suffolk and Norfolk):

EV: UK rapper and producer fusing 90s rave, UK rap and dance, with lyrics exploring British life and weekend escapism.

Ledbyher: Self-produced pioneer of ‘bedroom drill’ melding drill beats with introspective, nostalgic lyrics influenced by her unique life story.

Above: Ed Sheeran performing on the BBC Introducing Stage at Glastonbury 2011 (Photo: BBC Introducing / Andy Sheppard)

flowerov

‘I’m grateful that women are being seen, especially as a young Black woman myself’

Photo: Finn Waring

love

Words: Arusa Qureshi

The award-winning London-based artist speaks to M about developing her confidence as a songwriter, navigating the industry and the importance of staying grounded.

‘I love music so much,’ Joyce Cisse, AKA flowerovlove, earnestly tells M . ‘I love how it makes me feel and how it connects me to other people, how it can take me somewhere and make me feel things I’ve never felt before.’

We’re speaking to Joyce shortly after she’s arrived in LA for her first ever US headline shows. But while the jet lag may be hitting hard, her enthusiasm for her craft is still riding high. After all, she has had a whirlwind few years, from being scouted as a model in her teens and walking in Paris Fashion Week to signing with Capitol Records at just 18. Having garnered an impressive number of streams with her first three singles on the label, the London-based artist, now 19, is able to boast an international following that has positioned her firmly as one to watch.

With her first two EPs, 2020’s Think Flower and 2022’s A Mosh Pit In The Clouds, Joyce’s saccharine-sweet brand of pop purity was praised for its melding of playfulness and confidence, with her innate ability to charm listeners celebrated as a particular centrepiece. Her latest EP Ache In My Tooth builds on this as she takes on one of her favourite subject matters: love –but with a kind of sincerity that is far-reaching and full of warmth.

‘I would say I’ve definitely become more of a confident writer.’

Photo: Adama Jalloh

‘Every song on the EP chronologically tells the story of how love usually goes, and if it doesn’t work out in some cases,’ she explains. From the early hints of a crush in Girl Like Me to being hopelessly in love on Breaking News and then utterly heartbroken by the finale Congrats! U Did It!, the EP zeroes in on Joyce’s skills as a storyteller and chronicler of budding romance and young love.

‘It’s just where I was personally when I was writing it,’ she continues. ‘I always had the title Ache In My Tooth because I had written three different songs with the title. But I didn’t feel like those songs were good enough, so I decided to take it and make it my EP title. It’s about love and all the themes of love because, for me, love can be so sweet that it hurts, and it’s a little bit like a toothache.’

In addition to capturing the highs and lows of being in love, the EP also highlights that, in a very short amount of time, Joyce has not only grown as a songwriter and performer but has cemented her voice and ethos as an artist.

‘I would say I’ve definitely become more of a confident writer,’ she tells M. ‘I feel like these songs have more feeling to them and more emotion. It’s just so real and raw, and they’re truer to me than any other songs I’ve made so far that are out. What’s different between A Mosh Pit In The Clouds and this is just that everything’s

a little bit cleaner and more pop and a little bit more glossy, which I love.’

On the same day Ache In My Tooth was released, Joyce was on stage in London accepting the PRS for Music and PRS Foundation-sponsored New Artist award at the Music Week Women In Music Awards. It’s an accolade that draws attention not only to her achievements in music so far, but to her desire to empower and support women around her.

‘I’m just grateful that women are being seen, especially as a young Black woman myself,’ she says of her win. ‘I hope we get to be seen more. That’s why I’m here.’

For Joyce, it was particularly special to be in a room with so many other inspiring women whose stories and achievements gave her new insights into the industry.

‘There was so much love there,’ she adds. ‘Even if I hadn’t been there to collect an award, it was just nice to be in the room. It wasn’t really about me when I was there — I was just soaking everything in.’

Joyce clearly has a constructive mindset when it comes to tackling the landscape around her. But as someone that’s been making and releasing music from such a young age, what has it been like navigating the industry as a solo artist?

‘There was so much love in the room at the Women In Music Awards.’

Photo: Finn Waring

‘My honest answer is, I’m not sure if I’ve navigated it yet,’ she admits. ‘But PRS was a big part of my career when I first started, and it still is [now]. I didn’t even know what PRS was initially — my brother told me to sign up when I first made a Spotify account — but it’s been amazing. I think it’s a great platform for artists [as it means you remain] somewhat in control of your finances, and it’s also important in terms of giving you the knowledge of what’s happening in the industry too.’

Joyce was also able to make use of funding through PRS early on in her career, which helped her build both her aesthetic and overall connection to her fanbase.

‘It was a very easy process [to apply], and very helpful in terms of [providing] funding needed for videos or events,’ she recalls. ‘I love to do fan events where I open and style a thrift store, and then spend time with my fans. Stuff like that is great, but there’s so many similar things you just can’t do as an independent artist without funding.’

Though Joyce believes she’s still working on navigating the industry, it’s clear that she remains grounded in her deep love for it all. Her passion for writing music in particular evokes an intrinsic sense of youthful exuberance and nostalgia, which is further evident in her advice for musicians who are just starting their own journey.

‘A big thing for me is my friends and family, and [always] having a piece of home with me,’ she says of her mechanisms for success. ‘If I’m travelling abroad, I’ll bring a friend or my brother. It’s nice to have a piece of home with you, because it keeps you grounded and makes you feel human. In this industry people don’t always treat you like a human, so it’s important [to have people around you who do]. They’re the people who will rightly tell you that you’re a star.’ Photo:

PRS FOUNDATION FUNDING NEW MUSIC FOR 25 YEARS

Widely respected for its inclusive, collaborative and proactive approach to funding new music activities, PRS Foundation has helped elevate the careers of some of the UK’s most groundbreaking artists.

Since it was founded by PRS for Music in 2000, PRS Foundation has quietly become a lifeline for the UK’s most promising musical talent. Nurturing creators who might otherwise face insurmountable barriers, it’s a support system that champions innovation and bridges gaps in access at pivotal moments.

With its 25th anniversary on the horizon, PRS Foundation’s impact on the music landscape is undeniable: from launching debut records to helping bring tours to life, it has given more than £47m in grants to over 8,500 new music initiatives. Its work is underscored by a fundamental belief that talent may be everywhere, but opportunity is not. With that same ethos PRS Foundation continues to look forward, ensuring that diverse and emerging voices find a place on the global stage, redefining what’s possible for the next generation of music creators.

With this support structure, six of the seven most recent Mercury Prize winners (and almost half the nominees) have at some point in their careers received PRS Foundation support for one of their new music projects. Similarly, a growing number of nominees and winners at the BRITs, Grammys and Ivors — to name but a few — are past PRS Foundation grantees, with many being recognised for the project or album that had been directly funded.

PRS Foundation’s direct funding opportunities for talented UK music creators and their new music projects span all manner of genres and career stages, ranging from £500 to £15,000. This includes the PPL Momentum Accelerator (which supports creators based outside London), the Open Fund for Music Creators and the Women Make Music Fund.

The funding body also provides financial support to organisations that enable music creators to thrive, with grants of between £10,000 and £25,000 available for these projects. This includes the Talent Development Network, which comprises 73 organisations across the UK that work on nurturing local talent from the grassroots up.

Funding opportunities can be accessed through the PRS Foundation website, where they are categorised into Early Career, Next Steps or International Opportunities (namely the International Showcase Fund).

PRS Foundation-funded Porij performing for PRS for Music at Glastonbury 2024 (Photo: PRS for Music / Olly Wiggins)

For those in the early stages of their career, opportunities such as MOBO UnSung, Glastonbury’s Emerging Talent Competition and the Steve Reid InNOVAtion Award should all be explored. The Next Steps programmes — such as the PPL Momentum Music Fund, the Composers’ Fund and the Hitmaker Fund — are then reserved for those further on in their careers.

Each funding initiative offers vital and timely support at different points of the UK’s talent development pipeline, and so it is not unusual for some grantees to return to apply for support from another PRS Foundation initiative over the years on their career journey.

Once a funding programme’s deadline has passed, all submissions are checked for eligibility before being circulated among the PRS Foundation team and the Advisor Network for scoring. This Advisor Network is made up of experts from different areas of the industry, including management, labels, publishers, industry trade bodies and previous grantees. This ensures a deep understanding of the music quality, potential barriers and project feasibility of each application.

IMPACT IN ACTION

LITTLE SIMZ

PRSF FUNDING RECEIVED:

International Showcase Fund (2014), PPL Momentum Music Fund (2015), BBC Music Introducing and PRS Foundation showcase support (2015).

CAREER ACHIEVEMENTS:

2022 Mercury Prize winner (for Sometimes I Might Be Introvert); BRIT Award winner (Best New Artist, 2022); sub-headliner on the Pyramid Stage at Glastonbury Festival in 2024.

The top-scoring applications are then taken to a panel of advisors, who discuss with the PRS Foundation team which projects will receive a grant. Due to the huge talent in the UK and the finite resources available, each fund is competitive. Applicants who make it to the panel discussion stage but are unsuccessful are offered feedback, and many go on to reapply and successfully receive funding.

In an industry often defined by rapid changes and significant challenges, PRS Foundation’s role as a steadfast supporter of music creators has never been more critical. By offering not just funding but opportunities for mentorship, visibility and career development, the organisation ensures that creators are equipped to navigate and thrive in an everevolving world of music.

2025 marks a significant milestone for PRS Foundation. As it celebrates this anniversary, it will spotlight the artists, projects and communities it has uplifted while inviting others to join in its mission. By supporting the creators of today and tomorrow, PRS Foundation continues to ensure that the UK's vibrant music scene remains a global force.

DAVE

PRSF FUNDING RECEIVED:

International Showcase Fund (2017).

CAREER ACHIEVEMENTS:

Two UK number one albums (2019’s Psychodrama, 2021’s We're All Alone In This Together); two BRIT Awards (Album of the Year for Psychodrama, 2020; Best British Hip Hop/Grime/Rap Act, 2022); 2019 Mercury Prize winner (for Psychodrama); youngest ever solo headliner of Reading and Leeds Festival in 2022.

IDLES

PRSF FUNDING RECEIVED:

BBC Music Introducing and PRS Foundation showcase support (2017).

CAREER ACHIEVEMENTS:

Two UK number one albums (2020’s Ultra Mono, 2024’s Tangk); Ivor Novello Award winners (Best Album for Joy As An Act of Resistance, 2019); headlined Glastonbury’s The Other Stage in 2024.

ANNA MEREDITH

PRSF FUNDING RECEIVED:

Women Make Music (2014), PPL Momentum Music Fund (2015), International Showcase Fund (2017).

CAREER ACHIEVEMENTS:

2016 SAY Award winner (for the album Varmints); appointed MBE in 2019 for services to music; nominated for the 2020 Mercury Prize (for the album FIBS); numerous film and TV credits.

EZRA COLLECTIVE

PRSF FUNDING RECEIVED:

Steve Reid InNOVAtion Award (2016), PPL Momentum Fund (2017), International Showcase Fund (2018) and BBC Music Introducing partnership (2019).

CAREER ACHIEVEMENTS:

2023 Mercury Prize winners (for Where I'm Meant to Be); two MOBO awards (Best Jazz Act in 2022 and 2024); became the first UK jazz act to headline Wembley Arena in November 2024.

SAM FENDER

PRSF FUNDING RECEIVED: PPL Momentum Music Fund (2017), International Showcase Fund (2018).

CAREER ACHIEVEMENTS:

Two UK number one albums (2019’s Hypersonic Missiles, 2021’s Seventeen Going Under); two BRIT awards (Critics’ Choice, 2019; Best British Alternative/ Rock Act, 2022); nominated for the 2022 Mercury Prize (for Seventeen Going Under); performed to over 100,000 people across two headline shows at St. James’ Park in Newcastle in 2023.

JAYAHADADREAM

‘WINNING

GLASTONBURY’S EMERGING TALENT COMPETITION MADE ME FEEL UNSTOPPABLE’

Words: Rhys Buchanan

The Jamaican-Irish rapper discusses how her victory in the festival’s esteemed new music contest has propelled her nascent career forward.

Since triumphing in the 2024 edition of Glastonbury Festival’s Emerging Talent Competition, fiercely independent rapper JayaHadADream’s career has taken flight. Having followed that victory by releasing her Redemption Songs EP and performing at a multitude of high-profile festivals, the artist, real name Jaya Gordon-Moore, tells M: ‘I was already building my confidence, but the Glastonbury win really made me feel unstoppable. If you reach for something, you actually can get it.’

An inspired moment of proactivity led Jaya to apply for the competition in the first place. ‘At the end of last year, I started relentlessly looking for opportunities because music was becoming a full-time thing for me. I decided to go in for the Emerging Talent Competition and managed to get longlisted. I was then shortlisted for the final eight, which was so incredible and surreal in itself.’

In essence, no harm can come from exploring opportunities like these — particularly when it comes to potentially life-changing openings like the Emerging

Talent Competition, whose winner receives a coveted main stage slot at Glastonbury along with a £5,000 talent development fund from PRS Foundation.

‘That’s the biggest thing I’ve learned: I didn’t realise how many things you could apply for as an artist before this,’ she says. ‘This summer I ended up playing at Boomtown and Reading and Leeds. Neither of those doors would’ve been opened for me if it wasn’t for Glastonbury.’

Jaya says that the competition’s ethos of embracing musical diversity and inclusivity has ultimately helped her break through as a female rapper.

‘Even though I believe in hip hop, sometimes you feel rejected as a female rapper in that genre,’ she explains. ‘People often try to split hip hop apart from real art, and even rappers themselves will downplay their art. It was [therefore] really cool just to see it up on that platform and in the limelight. To be seen by the Eavis family and all the different judges and organisations? That meant a lot.’

‘People often try to split hip hop apart from real art.’

Above: JayaHadADream performing on the Woodsies stage at Glastonbury 2024 (Photo: Luke Brennan)

Sukha

‘If we can promote a positive narrative in our music, that’s the biggest thing’

Words:

Anurag Tagat

The Toronto-based rapper, singer and songwriter and composer on representing Punjabi music on the international stage and inspiring the next generation.

Few Punjabi artists are as lethal with their flow as Sukha. His lyrical intensity is arguably best exemplified on 8 ASLE, his Gold-certified 2023 track with fellow Punjabi artist Chani Nattan and producer Prodgk, on which he and powerhouse vocalist Gurlez Akhtar assuredly bounce off one another. The video for the joyous track recently surpassed 100 million YouTube views — evidence of Sukha’s growing worldwide appeal.

It’s hard to believe that Sukha only started releasing music in 2022. His debut single Siftaan was the first of three tracks to emerge before two EPs, SWITCHIN’ LANES and UNDISPUTED, were released in 2023 – with songs such as TERE BINA, ARMED and, of course, 8 ASLE amassing millions of streams. Sukha added to his growing catalogue in 2024 with his latest EP 2003, a record that showcased the artist’s developing sonic diversity, indicating how he’s broadening his creative horizons.

‘I feel like we’re still new; there’s a lot to do,’ Sukha tells M. ‘We’re just working through getting music out [now]. I think that’s our biggest achievement: being consistent.’

Repping Punjabi music at a time when it’s steadily becoming a stadium-filling, collaboration-pulling influence around the world, Sukha is modest when M mentions him in the same sentence as the likes of Karan Aujla, Diljit Dosanjh and AP Dhillon — artists he holds in high regard and respect.

‘These are all artists I’ve seen slowly develop into the artists that they are now,’ he says. ‘I was in high school when I was listening to Karan Aujla; Diljit, we’ve seen him turn into something completely different 20 years down the line. So, to be placed in the same category as them is a huge thing for me.’

‘I think everything that we see around us, we try to put into our music.’

While Sukha and his creative team have been busy making homegrown hits, the goal has always been to go international. As he started to see his streaming figure increase and go beyond known circles in Toronto, Sukha started to sense that there was a bigger audience waiting for him.

Photo: Press

‘To be placed in the same category as Karan Aujla and Diljit Dosanjh is a huge thing for me.’

‘It’s nice to look at those numbers, but it’s a really bad habit too,’ he states. ‘We’re used to seeing so many big numbers [now], so when we see something that’s average, we’re not [as] happy with it.’ While he’s keen to stress that he doesn’t judge his creative output solely by ‘the numbers’, he does acknowledge that such figures help ‘you keep going’.

As he was riding high into 2024 on the back of 8 ASLE blowing up, Sukha made his UK debut with the Undisputed Tour. Sold-out shows took place in London, Birmingham and Nottingham, and proved to be a revelation for the artist.

‘For the longest time, I never got to get out of Toronto,’ he says. ‘It was a shocking experience [to go on tour], as I never realised how far my music had got. It was a really big achievement for us.’

Part of Sukha’s charm as a music creator is his way with words. From romantic songs like Sangdi and Attraction to more provocative tracks like 8 ASLE, which speaks to his Punjabi identity in a hugely relatable way, Sukha’s lyric-writing process has, he says, evolved over time.

‘As you go to more places and see more things, you start writing differently… I think the topics [you write about] change when you start to see more things,’ he says. Acknowledging that he ‘always has writers in the room’ with him to assist with the songwriting process, he adds: ‘I think everything that we see around us, we try to put into our music. Anything that we see that can push the culture forward.’

Like every hitmaker, Sukha faces continuous scrutiny over whether every new song of his can match up to his biggest hits. Rather than feeling the pressure of continuing his successful run of form, the artist is keen to simply enjoy the ride.

‘I think we just like to stay in the moment, because these things are so temporary,’ he says. ‘If we’re at the top now in any sort of way, it’s not guaranteed to last forever. Artists can only put out so much before people overwrite the hard drive and someone brings a new one in. Music has always been a passion that [in my case] just got very serious, very quick.’

As he scaled his early career heights, Sukha joined PRS for Music for worldwide royalty collections.

‘PRS has been extremely supportive,’ Sukha says about his experience of the society. ‘They’re so easy to speak to and communicate with. [PRS and MCPS] continue to do a lot for us, even down to collecting our royalties for mechanical publishing — a lot of Punjabi artists don’t know about mechanical publishing rights. These artists didn’t even know how much money they were making from radio, streaming, YouTube or social media platforms — there’s money to be collected.

‘Music has always been a passion that in my case just got very serious, very quick.'

‘That’s why it’s important that those artists who didn’t know about this in the past find out about their rights. There are income streams they can make money from.’

Through tracks like HUNDO and DASS JATTA, Sukha is keen to use his prominent platform to speak to the younger generation and impress on them such ideals as self-improvement.

‘I think the more the youth can connect to a song, the more those songs can have a big influence whereby when we look at artists, we want to be like them,’ he says. ‘If in any way we can promote a positive narrative, that’s the biggest thing for us. I think of it as, “If I was a listener, what would I want to hear?”’

Photo: Press

PLAYING THE LONG GAME

A ROADMAP FOR MUSIC CAREER SUSTAINABILITY

Artist manager, consultant and music industry mentor Atlanta Cobb shares her experience and tips for how music creators can achieve career longevity.

Today’s music industry is barely recognisable from what it was even a decade ago — something that is daunting and exhilarating in equal measure. More than ever, music creators are required to adapt to this relentless, tech-driven landscape while trying to preserve both their creativity and their sanity. For those who want to pursue a career in music, it’s therefore about balancing authenticity with meeting the demands of the industry.

When I first entered the industry, a long-term career path could consist of gradual reputation building, working towards album releases, embarking on international tours, getting lots of radio play and — one day — breaking even on a record deal. Now, though, so much has changed. From the speed of music consumption to the very definition of success, the rise of streaming, social media and digital marketing have all shifted the goalposts — rewarding adaptability and immediate audience engagement over steady, methodical growth.

This shift has imposed a change in mindset. To succeed, we now need to adopt a futureproof strategy — one that accounts for the next social media platform or tech innovation — as well as lots of patience. Navigating such a fast-paced terrain can feel disorienting, but I’ve found that staying curious and being open to new tools can go a long way towards achieving longevity. Those who resist these changes, on the other hand, risk becoming obsolete in a business that waits for no one.

Experience is also key. Having someone in your corner who’s been there before, who gets what you’re dealing with and understands the pitfalls to watch out for is priceless. Having that support network can help you steady yourself when things get rocky while also potentially opening doors you might not even know exist.

‘Staying curious and being open to new tools can go a long way.’

Photo: Press

‘Rest isn’t laziness — it’s fuel for creativity.’

For me, having an industry-experienced coach isn’t about shortcuts: it’s about learning how to think about the long term while remaining vigilant for whatever curveballs the industry might throw at you. As well as demonstrating the benefits of networking and lending their technical know-how, the coaches I’ve received advice from have talked up the importance of building a system and acquiring the skills that allow for a healthy work-life balance. At its heart, coaching is about supporting the person behind the artist and equipping them with the tools for longevity, resilience and growth.

In recent years, social media has become essential for many creators. The medium used to feel like a creative outlet in the early years of my career, but it’s now a non-stop performance that often feels more demanding than the music itself. The industry has placed a premium on this form of visibility, but it needs to be managed carefully. It’s therefore hard to ignore the paradox: you need social media to build a following, but an over-reliance on it can lead to exhaustion. While data-driven insights are useful, it’s important to exert control over our digital narrative rather than letting algorithms dictate our worth.

I’ve learned to set boundaries and stay intentional about what I share: social media should serve the music, not overshadow it. Yes, being present and consistent online can help build your brand as a creator, but if you let it overwhelm you, it can start to work against you. Plan your approach, find a posting rhythm that works for you and remember that the people who matter will stick around to follow your journey.

As well as the expectations of social media, many of us in the industry are experiencing unprecedented pressure to produce, perform and promote around the clock. The result can be burnout: a kind of creative depletion that eats away at the passion that got us here in the first place. What helps? Implementing standard working hours, making mental health a priority and understanding that rest isn’t laziness — it’s fuel for creativity. As well as more open conversations about mental health, we need to have more support systems in place for artists.

Long-term success isn’t just about avoiding burnout; it’s about finding ways to recharge and reconnect with the reasons we started making music in the first place. It’s also rarely a solo endeavour. I’ve found that building a community — whether it’s through collaborations,

Photo: PRS for Music / Olly Wiggins

Photo: PRS for Music / Olly Wiggins

‘Social media should serve the music, not overshadow it.’

peer networks, member groups or fan engagement — adds a layer of resilience. Networking doesn’t mean looking out for ‘what’s in it for me?’, either: it’s about connecting with people, supporting each other and finding ways to grow together.

As musicians and industry professionals, we’re in this together. The more we lift each other up, the stronger and more resilient we all become. When things get tough, it’s your community — those relationships you’ve built over the years — that will help you keep going.

Given the ever-changing financial landscape of the music industry, diversifying your revenue streams through such avenues as sync licensing, brand partnerships or merchandise is essential. New technologies, such as digital pressings and direct-to-consumer apps, should also be considered.

Thinking like an entrepreneur and treating your career as a business with multiple income streams can set you up for success, no matter what economic changes come our way. Embracing that spirit of entrepreneurship is a proactive approach to achieving financial stability, allowing creators to stay focused on their music rather than the constant struggle to make ends meet.

Building a long-term career means playing the long game. It’s not about viral hits, vanity metrics or short-term success but about committing to the craft, the process and the resilience it takes to thrive in this ever-changing industry. For those of us who want to create music that stands the test of time, this unwavering commitment is the key to longevity in what is an era of rapid change.

The new music business isn’t for the faint of heart. It requires constant learning, adaptability, a support network and an entrepreneurial mindset. But most of all, it demands that we remember why we’re here. By embracing change, supporting each other and continually evolving, we can create careers that not only last but are deeply fulfilling.

You can follow Atlanta on social media @musicindustrymentor

Photo: Ana Pinto

AYRA STARR

'I

WANT TO BREAK WHATEVER BOX THEY TRY TO PUT ME IN'

Words: Joey Akan

The Nigerian superstar discusses her global reach, expanding her multifaceted sound and her mission to leave behind a legacy.

Amid the flurry of flashing cameras, sold-out arena crowds and international jet-setting that currently define her life, Ayra Starr is keeping herself grounded. But then the Nigerian sensation isn’t your typical artist. She’s a firecracker, a hustler and a purveyor of sound who’s on a mission to build a legacy — not just for herself but for every girl growing up in Lagos with dreams too big for the boxes they’re told to fit them into.

‘I feel like the most important thing for me right now is to enjoy the process,’ Ayra Starr tells M from Australia, where she’s just flown to from Kenya after performing a special live show for YouTube. ‘It’s all about making it worth it and slowing down enough to enjoy every single moment.’

Enjoying the ride hasn’t always been Ayra Starr’s strong suit, though this is understandable — after all, the journey she’s embarked on since 2021, when her debut album 19 & Dangerous set the music world ablaze, has been stratospheric. Here was a young artist capable of blending trap, highlife music and the irresistible pull of Afrobeats into a singular, unmistakable sound, epitomised by her Grammy-nominated breakout single Rush (420 million Spotify streams and counting).

‘It went from zero to 100,’ Ayra Starr recalls, her eyes brightening as she reflects on her career beginnings. ‘People would tell me about shows I performed or parties I attended, and I don’t even remember how I felt [then]; I was on autopilot. But now I try to be present with every single thing I do, because it can happen so fast.’

Ayra Starr’s second album, The Year I Turned 21, reflects this newfound grounding. The 2024 record blends genres with a fluency that could only come from an artist who has worked tirelessly to hone her sound and creative spirit since her breakthrough. ‘I was 19 when I made 19 & Dangerous; it was raw [and] a little chaotic,’ she says.

In The Year I Turned 21, Ayra Starr refines those early influences by condensing them into a cohesive, ripened sound that feels as expansive as it is intimate. ‘I entered different genres, going from highlife to trap and 808 beats, and made it all work together,’ she tells M while beaming. ‘It’s crazy when you think about it, all these genres that inspired me in one album.’

'Before

PRS, Nigerian artists were mainly making money from shows. There was no system for publishing, no royalty structures in place. We needed that infrastructure.'

One track, Last Heartbreak Song, stands out for its vulnerability and its raw ache. It’s not just a song, but a moment captured — a testament to Ayra Starr’s growth as an artist unafraid of her own emotions. ‘I remember performing it for the first time. It didn’t feel real to me,’ she recalls. ‘My vocal trainer told me I wasn’t singing from my heart. I thought I was, but he said, “You’re not singing your own lyrics.”’

That realisation hit her hard. Before a performance on The Tonight Show Starring Jimmy Fallon, she rewrote the lyrics by hand, reading them back like they were a letter from her past self: ‘I started crying. It was like I was meeting myself again.’

This self-awareness and commitment to her craft extends beyond creating music. For Ayra Starr, every decision is deliberate: her sound may be rooted in Lagos, but her vision is global. Each song and each performance is a step towards something greater, a legacy that will endure long after the lights fade.

‘I’m very competitive with myself,’ she says, her tone intense. ‘I want to be the best artist, the best performer, the best version of myself. I enjoy being on stage, rehearsing, recording — it’s not just work, it’s my life.’

Her blossoming international fanbase is indicative of the wide reach of her music. ‘Progress for me is just being here, being able to release music that I love, having fans who want to hear me,’ she says, her voice softening. She recently signed deals with global brands including New Balance and Infinix, signifying

her expanding influence and the power of her brand: ‘I’m very grateful. I just continue to work hard because I know where it’s taking me.’

While Ayra Starr’s music is blazing its own path, she’s also keenly aware of the hard realities of the music industry. Money matters here: royalties, publishing deals and an alliance with PRS for Music have all ensured that her talent is translating into tangible success.

‘When I see a credit from PRS, I’m just like, “Yes, my people,”’ Ayra Starr says with a laugh, recalling the early days of her PRS membership. This wasn’t just a pay cheque — it was proof that she was no longer just a kid from Lagos making good music but a global artist with real, quantifiable value.

‘Before PRS, Nigerian artists were mainly making money from shows,’ she explains. ‘There was no system for publishing, no royalty structures in place. We needed that infrastructure.’

Ayra Starr’s relationship with PRS goes deeper than simply receiving royalty cheques. Her partnership with the society represents the structural change African artists have long been waiting for — the kind of global legitimacy that artists like Ayra Starr need to secure financial independence. ‘Without PRS, we wouldn’t be getting those royalties and publishing money. Now we have the technology [and] the systems we need to thrive,’ she says, her voice brimming with pride.

Photo: Mavin Records

Ayra Starr’s journey isn’t just about personal success — it’s about setting a new standard for artists from Africa, especially young women. She’s breaking down the stereotypes, redefining what it means to be a Nigerian artist on the global stage.

‘Ten years from now, I want young women in the Nigerian music industry to look at me and see what’s possible,’ she says resolutely. ‘I want to break whatever box they try to put me in.’

For Ayra Starr, music is more than just a passion. It’s a mission, a calling, a way to rewrite the rules for herself and every girl with a dream. As she takes the next steps on her journey, she leaves no doubt about her purpose.

‘I just want to be the best at what I do,’ she says, her voice carrying both resolve and hope. ‘This isn’t just a phase for me — it’s a legacy.’

Ayra Starr’s rise is a powerful testament to the talent emerging from Africa and her undeniable impact on the global music stage. As an African woman and a visionary businessperson, she brings authenticity, resilience and a fearless approach to blending genres, creating a sound that’s resonating far beyond borders in a fearless way. Ayra Starr isn’t just making waves — she’s building bridges, connecting cultures and redefining the possibilities for African talent worldwide. She’s inspiring a new generation of global artists to think bigger, aim higher and push boundaries.

I remember the first time Mavin Records’ Kizito Ahams played me Rush. I was like, ‘Who is this? Who produced this? Who wrote this?’ The synergy Ayra Starr has with songwriter Prince ‘Mbryo’ Omoferi is something extraordinary. I call him ‘magic pen’ for the absolute fire they create together.

Ayra Starr has also collaborated with the likes of Andre Vibez, Louddaaa and London, and the combinations are next level. The creativity, the energy — it’s nothing short of electric.

Jacqueline Pelham-Leigh,

Senior Membership & Development Lead (Africa) PRS for Music

'I want to be the best artist, the best performer, the best version of myself.'

BEN NOBUTO

INSIDE THE MIND OF A MODERN COMPOSER

Words: Hugh Morris

The British-Japanese composer, pianist and producer on maximalism, Manchester Collective and his shifting musical aims.

It’s hard to imagine where Ben Nobuto’s music would be without the internet. Since his breakthrough in 2021 with the Manchester Collective commission SERENITY 2.0, Ben has continued to develop a noticeably individual voice in contemporary classical music through his consistently curious engagement with both the internet and online culture.

The most striking aspect of his music is its pace. Whether or not he’s constrained by context — his BentoBeat series on Instagram, for example, limited pieces to a minute, maximum — Ben’s sound to date has been characterised by maximalist saturation. He works on the principle of delivering as much information — words, rhythms, electronic glitches, memes and other bits of online ephemera — in the shortest amount of time, chopped up and glued back together at odd angles to create something buzzy and disorientating.

It’s an approach that’s brought him plaudits. Sol, written for the National Youth Choir’s Fellowship ensemble, won an Ivors Classical Award in 2023, while he took on the coveted First Night commission at the BBC Proms the following year. That piece, Hallelujah Sim, seemed to tie up threads he’d been working with for a while. A fun opener for chorus, electronics and orchestra, it chopped up traditional ‘content’ (sonically, the ever-present ‘Hallelujah’ phrase in choral music), infused it with a glossy, unreal energy and inserted it into a narrative structure borrowed from video games. The worlds Ben builds could easily be self-contained, postmodern collages, but they also involve a gentle probing of the 21st-century cultures that surround them.

‘I feel really lucky to be here and just absorbing things right now.’

Photo: © Manchester Collective / Phil Sharp

On a fundamental level, the principle of maximalist saturation makes Ben’s music both a product of and a response to the attention economy, and you can certainly link the music’s onslaught of information to that economy’s desire for constant interest. But the pieces probe in other ways, too: SERENITY 2.0, for example, was imagined as a guided meditation that goes wrong.

‘Listeners are invited to enter into a relaxed, meditative state, despite knowing well that any kind of serenity here is impossible,’ he wrote in a post accompanying the work. The piece found an ambiguous middle ground, balancing the value Ben puts on meditation — he finds it hard, but persists — with the highly commodified form of the practice that props up today’s wellness industry.

‘I’m always trying to find this weird, ambiguous space.’

Daily Affirmation, a piece for the Colin Currie Quartet that Ben is currently finishing, deals with a similar conflict between the personal and the structural, all mediated by the internet. ‘I’m always trying to find this weird, ambiguous space, where it’s half-ironic but also sincere at the same time,’ Ben tells M. These pieces are neither endorsements nor critiques of these cultural trends: they’re more like pieces of reportage from someone living in the middle of it all. After all, Ben is in a good place to assess the state of contemporary classical music.

‘I feel like the UK is a really interesting place in terms of style,’ he says, having cited Lawrence Dunn, Cassandra Miller and Oliver Leith as composers his ear is drawn to. ‘You can go to concerts and hear almost anything. There’s a lot of things you could say about funding and the state of the arts at the moment, but in terms of the music itself, I feel really lucky to be here and just absorbing things right now.’

Making works that play with style and form requires much more than open-minded performers and listeners. Many of Ben’s works involve electronics and live sound elements, the success of which is ‘really dependent on who you’re working with’, he says. He cites Manchester Collective as a group that truly ‘got it’ by booking sound technician Joe Reiser for their performances of his work, describing Joe as ‘almost like a performer within the ensemble.’

Things have moved quickly for Ben, who received the Manchester Collective commission straight out of university. For a modern-day composer having to deal with dissemination and promotion of his music on top of having to write, being a PRS member has proved useful in balancing his workload.

‘It’s a side of music that I wouldn’t have any knowledge of,’ he says of PRS for Music’s royalty structure. ‘It’s the sort of thing that in the past, maybe you’d have an agent or someone to do that side for you. [So] making royalties very transparent is really important.’

As he looks to the future, Ben feels his musical aims are shifting. What once felt sincere — ‘something really intense, everything all at once, in-your-face’ — has faded. ‘I’m more interested in finding these more subtle, ambiguous blurrings of feelings, emotions or concepts that feel more focused on one thing or a few particular things, and bringing out the rich ambiguity in those things,’ he tells M

Photo: © Manchester Collective / Phil Sharp

Ben’s piece for Southbank Sinfonia, Break-Up Mantras, is suggestive of this change. It was forced by a change of span: a 20-minute commission ‘forced me to step back from my default’, he says. What he found as a throughline was a specific technique — the sampling of euphoric pop samples, which he’d slow down to a crawl, then build instrumental structures around them. The result retains the sense of surreal whimsy from before, but feels more focused. As Ben notes, ‘the collage or barrage of different material actually feels quite old for me now’.

Ben is making this stylistic transition during a particularly busy period. As well as Daily Affirmations, his recent work includes music for the Tate Gallery and Turner Prize nominee Delaine Le Bas. There’s also an album that’s been in the works for a while that’s finally approaching completion.

‘I really, really want to prioritise the next year,’ he says. ‘It’ll be nice to have one thing to be like, “Yes, this is me,” and have it all in one place.’

I first encountered Ben Nobuto’s music during Manchester Collective’s performance of Serenity 2.0 at the Southbank Centre in 2021. It was unlike anything I had heard before.

It is a pleasure to work with composers like Ben in my role as classical relationship manager. Our job at PRS is to nurture creativity by ensuring composers know about their rights and how to earn royalties by licensing them. Royalty earnings from performances and broadcasts are an important part of a composers’ earnings, especially in the early stages of their careers.

Daniel Lewis

Relationship Manager – Classical PRS for Music

Ben Nobuto with his Ivor Novello Award for Best Choral Composition at The Ivors Classical Awards 2023 (Photo: Hogan Media/Shutterstock)

BAMBIE THUG

'REBEL COUNTRY' RENEGADE PUSHING FOR QUEER VISIBILITY

Words: Gary Ryan

Still riding high from their scene-stealing Eurovision bow, the Irish artist breaks down their ‘shapeshifting’ image, writing with Cassyette and the importance of representation.

Bambie Thug became Eurovision’s latest breakout star in 2024. Dressed as a horned demon amid a circle of candles containing a pentagram, the pop-disruptor sang Ireland’s entry Doomsday Blue — a blistering exorcism of hyperpop, metal and rock — as 163 million viewers watched on. The performance placed Bambie at sixth on the final leaderboard, earning Ireland its highest Eurovision finish in nearly 25 years.

It wasn’t merely their thrillingly nightmarish fantasy stagecraft that got Bambie — real name Bambie Ray Robinson — noticed, but also the way the 31-year-old drew attention to real-world issues with their performance. While performing Doomsday Blue, Bambie, who identifies as queer and non-binary, stripped down to reveal a swimsuit adorned with the trans flag. They initially intended to inscribe the words ‘freedom’ and ‘ceasefire’ on their body in ancient Irish Ogham script (Bambie had also spoken out against the European Broadcasting Union’s decision to include Israel in the competition amid the war in Gaza), but this was vetoed by Eurovision’s organisers.

‘I just wanted to showcase my art,’ Bambie tells M. Attributing their fearless streak to being born in Cork, they add: ‘I’m from the rebel country. There’s no way I could ever go into something with as big a platform as Eurovision and not highlight injustices, or push for the queer and trans community, or call out the awful atrocities in the world.’

Photo: Ryder Zamudio

While Eurovision may have been many viewers’ first introduction to Bambie’s genre-blurring ‘ouija pop’, this self-described ‘goth gremlin witch’ had already built up a cult following in the metal and alternative scene. The subsequent success of Doomsday Blue (which now has over 26 million streams) has added a fresh influx of fans to their coven, with many of those coming to see Bambie perform on their first European tour (fittingly called Crown the Witch).

How might this following influence their creative outlook going forward? ‘Although I’ll never dilute myself, it’s made me more aware of putting fewer expletives in my music so it can travel further,’ they laugh. ‘It’s opened my audience to such a wide demographic that I’m slightly more aware of what I’m putting out.

‘With this tour, some people have been saying I’m the first queer person they’ve ever seen [perform] in person. It’s important that we continue to give queer and trans artists more platforms because kids need to see that opportunities are waiting for them, regardless of whether they fit into their small-town society.’

With a background in ballet, dance and musical theatre, Bambie initially went in more of a bubblegumpop direction with their music career. But, after turning 27, they started to work with north London producer Tylr Rydr, with the pair discovering the freakish, norules mash-up sound that is Bambie Thug.

‘The “27 Club” was real for both my birth name and that person!’ Bambie tells M. ‘When I accepted myself and came out, and then changed my name and project name to build a more authentic, witchy world in music, the universe started rewarding me. When I started as a songwriter, I tried to fit into what I thought people wanted me to write. But the Bambie Thug project has no constraints: I shapeshift.’

Doomsday Blue was written by Bambie, Tylr, Wargasm’s Sam Matlock and kindred pop maverick Cassyette. Bambie frequently collaborates with the latter, including on Cassyette’s debut album This World Fucking Sucks

‘When I accepted myself and built a more authentic witchy world in music, the universe started rewarding me.’

‘It’s almost like a therapy session whenever we work together,’ Bambie says of their writing relationship. ‘We chat about whatever we’re going to be writing about quite deeply. Songwriting is an amazing tool to pull apart the puzzle pieces of what’s happened to you. Even in therapy, I’m more guarded about how I talk about things, whereas if I write a song, I find weird metaphors for things that don’t directly say what’s happened — but, in my brain, I know. It then fixes how I view things. It’s like there’s a brain in my hand operating my pen that knows me better than I know myself!’

Bambie’s constantly morphing, phantasmagorical image — which has seen them reference Powerpuff Girls villains (on Egregore) and The Lord of the Rings (Hex So Heavy) — has its roots in their childhood love of theatrical melodrama, Disney films and the darkly beautiful realm of Tim Burton.

Photo: Sabine De Graaf (@sabinedgphotography)

‘Songwriting is an amazing tool to pull apart the puzzle pieces of what’s happened to you.’

‘I like building a world outside of reality,’ Bambie tells M ‘My whole persona and body changes depending on what I wear. If I have a blonde wig and am more femme presenting, that has an impact on how I perform and feel. If I dress as a spider creature — like in the Hex So Heavy video — I feel crazy, badass, hot and weird. I love causing a reaction in people through imagery.’

Due in part to Bambie’s soaring popularity as a live performer — typified by them going from Download Festival’s smallest stage in 2023 to opening its main stage the following year — the artist has found it difficult to make time to write new music in the studio. The hope now, though, is to delve into the stockpile of songs they previously wrote with Tylr (the pair used to prolifically ‘vomit out’ multiple tracks per day, says Bambie) for a new release in 2025.

‘I have ADHD so I have object impermanence, meaning I forget about songs I’ve written and need to go through the archives of the last few years of my brain,’ Bambie explains. ‘I can’t wait to have some time to go into the studio and write what I need to get out of me again. But thank God I’ve written so many songs that I’ve saved in the vault for when I don’t have time to do that.’

2024 has proven to be a breakthrough year for Bambie Thug — and the next 12 months only look set to build on that momentum.

‘This year has felt like being in the middle of a tornado, trying to hold on as all these experiences fly around me,’ they conclude. ‘2025’s only going to get wilder.’

Photo: Patrick Gunning

Photo: Ryder Zamudio

CLOSING THE GAP HOW MUSIC EDUCATION IS SHAPING THE FUTURE OF THE INDUSTRY

Words: Dan Cave

M speaks to educators, project managers and youth charities about how the future of musical creativity must be nurtured through educational resources.

When appraising the state of the UK music industry, there is arguably ample cause for optimism. According to UK Music’s latest This Is Music report, the sector contributed £7.6bn to the UK economy in 2023 (up 13% from £6.7bn in 2022), while UK music exports revenue rose 15% to total £4.6bn. Most promising of all was the continued growth of music industry employment, rising from 210,000 in 2022 to 216,000 the following year.

Byline: Hugh Morris

But for music creators looking to get a foothold in the sector, success is still not a guarantee. Arguably the biggest obstacle is financial: from the cost of equipment through to maintaining a sustainable income as a professional musician, money can be a significant career blocker. Indeed, the Musicians’ Census, commissioned in 2023 by Help Musicians and the Musicians’ Union, found that nearly half of UK music creators earn less than £14,000 a year from their craft, with many of those having to balance between three and four jobs on average to supplement their income.

In addition to the financial element, music creators are also under pressure to build and maintain a career development plan, attain a strong understanding of complex industry practices and be ready to grasp whatever opportunities come their way.

Educational institutions across the UK have dedicated resource to helping the next generation of creators, as well as industry professionals, overcome these barriers. A total of 165 UK universities offer music courses, while there are 11 conservatoires, several standalone music schools and numerous Arts Council-funded programmes geared towards improving access to music. Elsewhere, schemes such as the Music Academic Partnership — a collaboration

between educational institutions and the membership of UK Music — are working diligently to prepare young people for the realities of a career in music.

Academics like Dr Matt Grimes, music business course director and a senior lecturer in music industries and radio at Birmingham City University, are leading the charge. Matt is aiming to use his role to help young people who are interested in pursuing a career in music to gain vital experience and an understanding of the playing field.

‘The music industry is really a set of industries, from content creation to PR to law,’ he says. ‘It’s my job, and the role of other music education facilitators, to get young people to engage with these various elements, find where they can fit in and sort their own career by knowing what motivates them.’

Matt is also keen to stress to the young people he works with that, when it comes to achieving success in the music industry, ‘it’s not a case of fame or nothing else’. While young creatives should be encouraged to follow their passion, they should also be taught the huge importance of transferable skills such as networking, innovating and risk taking — qualities that will stand them in good stead in terms of their future career prospects.

‘The landscape is changing, but there’s still so much creative talent to nurture.’ Dr Adam Whittaker

‘The [education] system can sometimes compartmentalise creativity,’ he says. ‘We need to do more to publicise [careers in music] in schools. We need to teach kids about innovation, entrepreneurship and management — skills that are useful in any line of work.’

Educators, Matt adds, need to boost confidence and encourage entrepreneurialism among young people. ‘I get students out of the classroom as much as possible and get them to identify gaps [in the industry],’ he explains. ‘They can fill those gaps — and you don’t have to go to London [to work], either.’

This is a sentiment that Liverpool-based creative consultant Yaw Owusu no doubt agrees with. Among his varied portfolio is his ongoing role as senior manager of POWER UP — an award-winning initiative co-founded by PRS Foundation and Ben Wynter that champions Black music creators and industry professionals — and his involvement in the Open Sauce x Generator project, aimed at helping Black talent to launch their careers in the music industry.

‘I look at how policy and practice can be rethought and implemented to allow for a more fertile and abundant music industry,’ Yaw tells M when asked for his view on the current state of music education in the UK. ‘We need to close the gap between education — whether formal or informal — and industry.’

Closing the gap is a major driving force behind east Kent’s Pie Factory Music. Headed by CEO Zoë Carassik, the charity helps young people in the local area by offering them ‘equal access to creative opportunities and a community of support’. Pie’s resources include musical instruments and a recording studio, early career development programmes and mentoring services.

Despite an ‘amazing roster of supporters’ who help facilitate Pie’s important work, Zoë would like to see more support for similar regional creative hubs. ‘We need further investment from government,’ she tells M, noting that the future of Pie is at risk due to local council cuts.

‘We need to close the gap between education — whether formal or informal — and industry.’

‘It’s about access: from understanding how resource hubs like Pie work to giving more opportunities to regional [creative programmes].’

Dr Adam Whittaker, associate professor in music and head of pedagogy at the Royal Birmingham Conservatoire, is similarly concerned about access. He believes that educators have a responsibility to help solve this, primarily by helping music students become educators themselves. By passing on the skills they learn at institutions like the Birmingham Conservatoire, more musicians can unlock their career potential which, Adam says, will help democratise the sector.

‘It’s on me to ensure this training and educating is informed by what’s going on in the sector,’ he says. This can be further boosted, he adds, by linking up with other institutions to share opportunities: ‘As a teaching institution, we have to keep looking forward. The landscape is changing… but there’s still so much creative talent [to nurture].’

Yaw believes that PRS for Music can continue to play a significant role in enhancing music education across the UK.

‘PRS can be the driver in many ways: facilitating conversations and connections, sharing vast resources, financially supporting where possible and leading with innovative approaches,’ he says. ‘This in turn will inspire the same from other key organisations.’

Yaw Owusu

Zoë Carassik

Dr Adam Whittaker Dr Matt Grimes

Yaw Owusu

NO FILTER: SAM TOMPKINS ON GRIEF, GROWTH AND HONESTY

Words: Sophie Williams

From busking on the streets of Brighton to headlining one of London’s most prestigious venues, the singersongwriter is more determined than ever to stay true to himself.

Sam Tompkins’ debut album, Hi, My Name Is Insecure, floats along a mood of deep reflection: his unflinching lyrics detail scenes of grief, insecurity and displacement — heavy feelings all bolstered by cavernous drums and rhythmic momentum.

‘My music pulls from my own story, but at its centre is a desire to give a voice to people who perhaps feel voiceless,’ he tells M. Having paused playing his acoustic guitar in his cosy Brighton flat to speak to us, Sam reveals that he’s been working on new material ‘for the first time in months’.

‘I always write my most personal songs when I’m at home, as there’s no judgement in this space,’ he says. ‘Emotionally, you can go to darker places — no one ever has to hear what you’re coming up with in the moment. Being here, alone, helps me to get my ideas out fully.’

To say that 2024 has been something of a whirlwind for Sam would be an understatement. Hi, My Name Is Insecure arrived in July — five years after the 27-yearold first signed a record deal — and he celebrated by playing a hometown show that was followed, he says, by ‘screaming a whole lot afterwards’. This cathartic release stemmed from losing his ‘hero’ father, with whom he shared his pop star dreams as a child. Then, in September, Sam became a victim of burglary, losing his laptop and his late father’s silver cross pendant before a social media callout helped police return these valuable items within a few days.

‘In this industry, it’s good to recognise who is actually keen to support you.’

It’s this juxtaposition of suffering such emotional extremes alongside celebrating the biggest achievement of his career that, understandably, left Sam at an impasse. Over time, though, he has come to understand that all this has been a learning process. Within weeks of his father’s passing, Sam headlined London’s Hammersmith Apollo, performing part of the show in the round. It was a night as rich with love as it was heavy with loss, allowing him to ‘find human connectivity’ surrounded by thousands of fans singing songs he made at home.

The title of his debut LP may read as a declaration, but its songs are clear-eyed and softer than imagined, passages of ambience (Numb) and fingerpicked guitar (Phones In Heaven) reflecting the shifts in mood that can accompany personal upheaval. Sam recorded it, unknowingly, with pre-nodules on his vocal cords, keeping the original takes of his damaged voice so that the album felt ‘raw and real’.

For a musician who began forging their path to stardom as a teenager busking on the streets of Brighton and uploading pop covers to YouTube, it’s been paramount for Sam to retain creative control throughout his career. It’s why he racked up production credits on Hi, My Name Is Insecure as well as its predecessor, 2022’s Who Do You Pray To? EP.

As Sam explains, early financial support allowed him to purchase his first MacBook and teach himself how to make beats, as well as gradually expand his guitar collection.

‘I soon came to understand how vital PRS is, especially in terms of collecting royalties for emerging artists,' he says. 'In this industry, it’s good to recognise who is actually keen to support you. A lot of people you may meet on this planet may not be looking out for you, but PRS are a friend.’

Photo: Mitch Peryer

Photo: Mitch Peryer

'I’m a really open, vulnerable and sensitive person, and I’ve always been proud of that.'

Growing in confidence as a songwriter helped Sam devise a winning formula. During those long, shapeless lockdown days of 2020, Sam began uploading content to TikTok. His soulful, ragged vocal, complemented by his affable demeanour, struck a chord and his music began to flood all corners of the internet, helping him build an international fanbase he commands to this day. A rendition of Bruno Mars’ Talking To The Moon was even sampled by Gambian-British rapper Jnr Choi, with the resulting track becoming one of the biggest songs on TikTok in 2021.

While some have noted that TikTok’s algorithm can prioritise short, sped-up snippets of music, Sam embraces the platform as part of his origin story. Experiencing viral fame has allowed him to find fans in the likes of Justin Bieber and Fred again.., though he is intending to take a prolonged break from social media in the future.

‘I’m a really open, vulnerable and sensitive person, and I’ve always been proud of that. Being honest in my music is second nature to me,’ he tells M. ‘But as

I’ve gotten older, I’ve felt like I don’t need to express everything online. It’s not for me to judge others, but I see so many people bleeding themselves dry by doing too much on social media and then regretting it later.’

This level-headedness crops up a lot when talking to Sam. He is quick to affirm that sharing his experiences of grief on the internet ‘opened the floodgates’ for people to exchange their own traumas with him (‘a heavy but powerful thing to navigate’). He is a thoughtful and measured conversationalist, radiating a peace that comes from knowing that, despite it all, he is accepting of himself.

Sam’s lyrics have always expressed big, universal statements: we’re learning together, we’re all human, as he sings on Time Will Fly. Going forward, though, there’s a desire to make ‘steadier and more upbeat’ music that seeks personal solace in the chaos.

‘If I can get through this year, I can get through anything in life,’ he concludes, breaking into a gentle smile.

Photo: Mitch Peryer

'MY RELATIONSHIP WITH MY CREATIVITY IS ALWAYS CHANGING'

The London singer and producer discusses her creative approach, remixing big-name artists and the road to her debut album.

Words: Jim Ottewill

‘She’s the next big thing, we are all witnesses.’

So wrote one rapturous viewer in the comments below Yunè Pinku’s brilliant 2023 Boiler Room performance in Stockholm. It’s a claim that many of those who have heard Yunè’s innovative productions or seen her perform would agree with. Yet while her music is full of bold contemporary shapes — mixing up bedroom pop with ethereal electronics — success is something she’s still getting her head around.

‘I never thought I could work in music,’ Yunè, real name Asha Catherine Nandy (her moniker is a combination of a childhood nickname and her love of Pingu), tells M. ‘Electronic music has come accidentally to me, too: I went from making indie-pop to experimenting with UK garage sounds — and it just suddenly clicked.’

Her artfully assembled electronica, which ripples with post-dubstep rhythms and ’80s pop sheen, has been on the ascent over the past 18 months. Endorsements by the likes of The Blessed Madonna, Pete Tong and Joy Orbison, as well as a support slot for Barry Can’t Swim, have all come the Malaysian-Irish musician’s way. But Yunè is still surprised by how well her music is landing.

‘I’d been sharing songs on SoundCloud and my nowmanager got in touch after coming across my profile,’ she remembers of her breakthrough. ‘I thought it was a scam! It was only because he was followed by a band I liked on Instagram that I replied. I sent over some demos, and it’s been building ever since.’

Yunè Pinku

'Electronic music has come accidentally to me.'

As a child Yunè was always surrounded by music, with indie, experimental sounds and traditional Irish music all competing for her affections. It was growing up in London, however, that led to dance music’s pulse entering her creative sphere.

‘I went to school in south London and heard drum’n’bass and UK garage in the streets, being played in people’s cars,’ she recalls. ‘It was very familiar to me, but I was unaware of how familiar it was until I started making it.’

Yunè’s move into music production came through a mix of lockdown boredom and an interest in experimenting in how she expressed herself. Fed various influences by her family, she found affordable software also made music accessible.

‘It was initially about experimenting with free online resources,’ Yunè says. ‘But I’d never been hugely into electronic music; I used to think it was just what you’d hear in clubs. But then I began to realise a lot of music I liked, such as Massive Attack, sat under this definition.’

Yunè utilised the pandemic-enforced shutdown of normal life to great effect, stockpiling more than 150 tracks as she continued to develop both her production and songwriting nous.

‘I go through bouts where I make loads of music, then another period where I can’t do anything,’ Yunè explains. ‘There was nothing to do during lockdown, so I was distracting myself by constantly writing — even if 100 of those tracks were terrible!’

Yunè has come a long way since those first recordings. Her 2021 debut single Laylo was the first preview of her inaugural EP Bluff, which saw her creative ideas — drawing on themes ranging from mythology to notions of identity — and confidence in her own production skills continue to blossom. Yunè’s music is born out of a simple set-up: a laptop, a ‘slightly damaged microphone’ and a collection of samples, sounds from Splice and plug-ins.

‘I still work on the same dinner table that I made everything on during lockdown,’ she reveals. ‘I used to go through big bouts of imposter syndrome, but now I feel comfortable enough to experiment. My relationship with my creativity is always changing, much the same as the relationship I have with myself has evolved.’

Yunè’s early industry connections have helped bring her to the fore. Croydon music creator Joy Orbison was an early supporter after featuring her mix on his Radio 1 Residency, while a collaboration with Australia’s Logic1000 also got her name and sound out there.

‘Joy definitely helped me understand the dance world a lot better,’ Yunè says now. ‘Logic1000 emailed me the demo of [their collaborative single] What You Like I remember sitting on my bedside table with this horrible mic recording the full version of what the song would become!’

High-profile remixes have also helped heighten the buzz around Yunè, who has rewired tracks by the likes of Charli XCX, Hot Chip and Disclosure in recent years. The task of taking on these big artists requires Yunè to call on a different skillset, shining a light on another part of her creative process.

‘Remixing is like assembling a puzzle: you’re working backwards from an already completed song,’ she explains. ‘It’s great to have free reign and it can feel like you’re peeking under the hood when you shouldn’t, especially in the pop world. With Charli XCX’s Used To Know Me, there were so many tiny details in the production — it’s crazy how much was going on.’

Whether it’s a remix or an original production, Yunè’s dedicated approach is always to fully immerse herself in the music.

‘I do go a bit into tunnel vision if an idea starts rolling,’ she admits of her process, before acknowledging its pitfalls. ‘I overdo it sometimes, as I won’t drink or eat anything for hours if an idea is going well. If you take a break, then the song might disappear…’

Having dropped her latest visionary EP Scarlet Lamb in October 2024 as she continues the road towards her debut album, Yunè evidently seems poised to take that next big step forward in her career. For now, though, she’ll continue to refrain from overthinking her success.

‘Today’s producers should avoid thinking about genre and instead just be willing to experiment,’ Yunè says. ‘That’s my approach [as] I’m writing an album, churning out songs and trying to figure it out right now. I’m feeling good about it…’

'I still work on the same dinner table that I made everything on during lockdown.'

Photo: Patrick Gunning

Photo: Manon

BARRY CAN'T SWIM

Words: Jim Ottewill

Having ridden the wave of his debut album’s success, Edinburgh producer Joshua Mainnie — better known as Barry Can’t Swim — is being tipped for even greater things. M speaks to key members of his team about what’s worked and what to expect next.

‘I’m not really one for putting soppy shit on socials, but it’s an incredibly moving thing to know there are people out there that actually want to listen to my music.’

These were the humble words of Joshua Mainnie, AKA Barry Can’t Swim, as he celebrated the release of his debut album When Will We Land? in October 2023. There definitely was an appetite for it: the record debuted at 12 in the UK album charts, racking up millions of streams as the Edinburgh producer earned both BRITs and Mercury Prize nominations.

Written and recorded while Josh was working a fulltime job, the 11-track album was born out of an inspired streak of electronic talent. ‘Josh has been very firm about avoiding the world of commerciality, or copying what other people have done,’ says Louis LloydGilchrist, product manager at record label Ninja Tune and an essential member of the Barry Can’t Swim team. ‘He’s making the music he wants to make for his own enjoyment, and that happens to resonate.’

Josh’s manager Oran Barton and fiancée Shereen Akrawi have both been cited by the producer as two ‘very special people’ behind When Will We Land? Oran first reached out to Josh when he had one song out with less than 1,000 streams, while Shereen, Josh revealed, served as ‘the inspiration behind so many of these songs’. According to Louis, the pair are indeed architects of this success story.

'Josh never set out to be a superstar.'

BARRY CAN'T SWIM'S YEAR IN NUMBERS

• Over 250 million streams accumulated across his back catalogue so far.

• Barry's monthly listeners on Spotify passed 3 million in 2024 — a 50% increase on his 2023 numbers.

• Upon its release in April 2024, Barry’s single Kimbara became his most-streamed track in a single day — while also attracting his biggest single-day listenership yet.

• Kimbara was added to over 25 editorial playlists on Spotify, including Spotify’s New Music Friday playlists in the US (4.2 million subscribers) and the UK (864,000).

• Following his Glastonbury 2024 performance, Barry gained over 10,000 new Instagram followers and increased his number of TikTok followers by 46%.

‘Oran and Shereen have helped build a great persona [with Barry Can’t Swim], and their approach is so uncynical,’ he explains. ‘It also helps that Josh is such a gregarious, lovely bloke. I was delighted we got to work together.’

From surrounding himself with a vibrant array of children’s toys for his album artwork to dancing with fish mask-wearing ravers during a livestreamed set, it’s clear that Josh is keen to have fun under the Barry Can’t Swim moniker. It’s evidently an appealing world for his fans to buy into, and the buzz has been building

'When the album dropped, we did 14 in-store shows — there was this mania surrounding Barry Can’t Swim.'

organically since the release of his first EP Amor Fati, and its killer track Lone Raver, in July 2021.

‘He’s a humble chap and you can see how he’s been blown away by the success,’ Louis reflects. ‘Every time he sells out another show or wins over a festival crowd, it’s a pinch-me moment.

‘It’s been a fascinating journey to be part of, because Josh never set out to be a superstar. In this current era of pop hits coming from unlikely places and catalogue tracks suddenly getting new leases of life, you’re finding more of these success stories where it’s no longer an engineered product. It has to have that connectivity and resonance with the audience.’

It was the release of Lone Raver that first alerted PRS for Music’s dance music relationship manager Ashley Howard of Josh’s talents.

‘Our internal talent identification database first picked him up in September 2020,’ Ashley tells M. ‘The system crunches a wide variety of music data sources to help us find emerging talent and ensure they are getting the most from their PRS membership.

‘Josh reached the contact threshold not too long after that, which is when I contacted his management. Since then, the rise of Barry Can’t Swim has been nothing short of meteoric.’

Photo: Roy Dewar

'We have a great relationship between artist and management — we’re one big collaborative team.'

A milestone moment in Josh’s journey was when he signed to Ninja Tune’s Technicolour imprint for his 2022 EP More Content. The deal was orchestrated by A&R and catalogue manager Mary Davenport, who discovered Barry Can’t Swim online.

‘You often get sent a lot of music from contacts, managers and lawyers, but with Josh, I came across his music on Spotify through playlisting,’ Mary says. ‘I always look at Spotify’s Artist Radio [function]: that’s always a good way of sensing where an artist is and where they might want to be in the future.’

Mary recalls several months of back and forth between Ninja Tune and Josh’s team, most of which had to take place online owing to lockdown.

‘It was such a weird thing, as we couldn’t meet Josh or the management in person,’ she explains. ‘At this point, he hadn’t done any live gigs. We just signed him off the back of his music and his potential as a producer and songwriter.’

Josh’s debut live show as Barry Can’t Swim finally took place in May 2023, with huge demand for tickets resulting in the venue being upgraded to the Islington Assembly Hall in north London. The Barry Can’t Swim live show is now an integral part of the project.

‘When he announced his debut live tour along with the album, the reaction was incredible,’ says Louis. ‘Glastonbury 2023 was a big moment. He was playing

the Stonebridge Bar at 4:30am, and the queue to get in was insane. Then when the album dropped, we did 14 in-store shows — there was this mania surrounding him.’

Josh’s joyous return to Glastonbury in 2024 saw him draw a huge crowd to The Park stage, while spring 2025 will see him tour the Americas and Australasia before he’s then expected to return to the festival circuit in the summer.

‘He’s done so many festivals in 2024, so next year we’re looking at doing fewer shows but bigger and better,’ Louis says of the team’s live plans, which includes topping the bill at London’s All Points East — marking Barry Can’t Swim’s first major festival headline show — in August 2025. ‘We’re all very mindful of working on growing this audience while remaining genuine to who Josh is. But we have a great relationship between artist and management, and we’re all focused on this [goal]; we’re one big collaborative team.’

New music is planned too, with the latest single Still Riding — a live favourite built around a sample from Kali Uchis’ breakthrough 2015 single Ridin Round — having arrived in September. Mary believes that, ultimately, Josh is most motivated by the music he makes.

‘The industry accolades aren’t the end goal or what it’s about,’ she explains. ‘The aim is to help Josh create the amazing music he wants to do and then build a brilliant campaign and long-term career around it. That’s where we want to head next.’

Photo:

Jamal Green

‘The composers I listened to were always my heroes’

Words: Hollie Geraghty

From Bury St Edmunds to the BAFTAs, the multi-instrumentalist has defied expectations to become one of the UK’s most promising new media composers.

Whenever Jamal Green visited the cinema growing up, he often left humming a tune he’d just heard. His early music tastes may have ranged from funk to poppunk and nu-metal, but it was those transportive film scores — ranging from Hans Zimmer’s influential work to the music in The Chronicles of Narnia series — that spoke to something deeper inside him. ‘The composers I listened to were always my heroes,’ he tells M, citing the likes of Scottish music creators Lorne Balfe and John Lunn among his early idols.

The multi-instrumentalist is now following in their footsteps. After initially making inroads into professional composing in his teens by writing music for mobile games, Jamal now has multiple film (Take Cover), TV (FX/Sky’s Breeders, ITV’s G’wed) and video game (Skelattack, Equilinox, TOEM) credits to his name.

'Being selected for the BAFTA Breakthrough programme felt like a massive milestone.'

His journey to this point began in Bury St Edmunds in Suffolk — somewhere that ‘certainly wasn't a hub for creativity’, he acknowledges now. His interest in music was first piqued by hearing his older sister Afrika — now a drummer for the Pet Shop Boys — practising in her room with a metronome always ticking away. At his strict Catholic school, he spent lunchtimes sneaking into the room where the school’s one Mac computer was situated to make songs for mobile phone games.

‘I'm not exactly in the demographic of people that teachers thought would do well musically,’ he reflects. ‘I think they thought I would never get anywhere with it, [that] it was a bit of a waste of time at school. But I kept doing it.’

The budding composer was attracting attention from the right people, eventually landing his first project — a remake of the viral Flappy Bird mobile game called Floppy Bird — while he was still at school.

Photo: Audio Network / Marcus Maschwitz

‘During registration one morning, someone started playing the Floppy Bird music to the whole class, and everyone clapped for me,’ he recalls with a laugh. ‘It wasn't a clappable thing, but it was very nice of them.’ From there, Jamal continued to pursue any and all music gigs that came his way: ‘I treated it like a job, but I was doing stuff for free or occasionally being paid by people kind enough to pay me. But it was hard to gain the trust of anybody to let a 15-year-old kid do music for their project.’

Jamal continued to fine-tune his compositional skills by studying performance and production at college, where he would regularly camp out at the back of other students’ classes to work away on his own projects (‘The teachers there were way more gracious’, he notes). He went on to enrol at the University of Hertfordshire to study composition. Fortunately, he recalls, he didn’t have to sit an entry exam to demonstrate an education in classical music: ‘If they were gatekeeping it too much, I may not have made it into some universities.’

As well as this more traditional route of honing his craft, Jamal used his initiative to take his next big career step. After its hand-drawn animation style caught his eye, Jamal began writing some sample music for the adventure game TOEM. He ended up being commissioned to finish the score for the game in collaboration with the artist Launchable Socks (‘It was the most enjoyable experience I think I’ve ever had working on something’) and joined the team at the 2022 BAFTAs as they won the award for Debut Game.

‘I was kind of zoning out, and then I just screamed,’ he recalls of the moment of victory. ‘We all went up on stage, and I just knew things would change [for me from then].’

Momentum indeed continued to build as Jamal was selected that same year to join BAFTA’s Breakthrough programme, which supports the next generation of creatives in film, games and television. His cohort included One Day star Ambika Mod, Big Boys writer Jack Rooke and EastEnders actor Rose Ayling-Ellis.

‘I was like, “They're never gonna pick me,”’ he recalls. ‘But [being selected] felt like a massive milestone. It felt like recognition, which is something I certainly felt I hadn’t had much of yet.’

His work ‘legitimised’ by this recognition from BAFTA, Jamal was promptly snapped up by a talent agency. He’s since been offered a host of career-advancing opportunities, including sitting on the Ivors judging panel for their Best Original Video Game Score award, but he also points to the royalties he receives from PRS for Music for further ensuring he can compose full time.

‘PRS royalties have allowed me to make money off my music, which I didn't think was something that I could do,’ he tells M. ‘I have so many friends who were able to make albums based off funding from PRS, which is just the coolest thing to hear.’

Looking to the future, Jamal is set to score the upcoming black-comedy-meets-crime film The Debt Inherited starring Peaky Blinders’ Paul Anderson, Fargo’s Peter Stormare and Love Island star Tommy Fury. He’s also keen to start up his own creative project which will focus on fostering creativity and collaboration among composers. But, amid the acclaim and these opportunities, he’s intending to stay grounded and stay true to his mission statement when it comes to writing music: ‘Make people feel something that they wouldn't otherwise.’

'I want to make people feel something that they wouldn't otherwise.'

Photo: Jamal Green

Katie Hargrove

‘Syncs have given me so much autonomy to be the artist I want to be’

Words: William Ruben Helms

The

Tennessee musician reflects on how entering the dynamic world of sync has breathed new life into her songwriting career.

Katie Hargrove’s journey through music is a testament to the resilience, adaptability and creative ambition that shapes so many of today’s independent artists. The Tennessee singer-songwriter has carved out a career that reflects an industry in flux — one in which genredefying creativity and unconventional revenue streams are reshaping the rules for success.

Growing up in Knoxville with a musician father who loved Hank Williams and a college professor mother who was a fan of hip hop and R&B, Katie’s musical influences were as broad as her ambitions.

‘Music was a big part of my childhood,’ she recalls, describing it as both ‘an outlet and a way to cope’. ‘If I’m honest, my family had a lot going on,’ she adds. ‘My dad struggled with addiction and mental health issues, and I was watching that unfold.’

Photo: Mikeldarling.com

‘When I’m 90, I’m not going to care about the numbers. I’ll care about the songs I wrote.’

As she entered her teens, Katie started performing live during breaks between her father’s sets. ‘I was this 13-year-old girl with an electric guitar, performing in a bar,’ she remembers with a laugh. Those early experiences helped forge her stage presence and resilience — qualities she would rely on as she progressed in the industry.

By her early twenties, she’d released her self-titled debut EP, which broke into the iTunes Top 100 and earned her a nomination for Best R&B Album at the 2018 A2IM Libera Awards. Nominated alongside the likes of Sharon Jones and Mavis Staples, Katie confesses to having felt a wave of ‘imposter syndrome’ but also validation.

‘That was a big jumping point for me to get into rooms and be able to leverage myself as a songwriter,’ she says. ‘Without that, I don’t know if I’d be sitting where I am today.’

But this recognition came with a harsh lesson as, like many young artists, Katie found that she was tied down to a restrictive record deal. ‘All I had control over was my publishing,’ she tells M. ‘I realised I needed to start writing for other people if I wanted to make this work.’

By late 2018, she had moved to Los Angeles and thrown herself into the city’s creative scene. ‘I was doing double writing sessions daily, writing with anyone who would collaborate,’ she recalls. This relentless approach led to one of her most significant partnerships to date: that with Avena Savage, the creative force behind RUNN. ‘Avena was one of the first people who really took a shot on me in LA,’ Katie says.

Indeed, Avena helped open the door to sync for Katie when they both attended a songwriting camp hosted by Pulse Studios and Starz. Offered the opportunity to collaborate on new music and potentially have a track featured in the US TV series Vida, Katie, who was pulled into a group with Avena, wound up writing two songs in Spanish with Angelica Garcia. When the songs aired in 2020, they ‘made a splash’: further sync placements followed and, in turn, a new kind of artistic and financial freedom. ‘Syncs have given me so much autonomy to be the artist that I want to be,’ she explains.

Rather than serving as a back-up plan, Katie found that sync licensing was a ‘truly life-changing’ venture that could allow her to purse varied projects on her own terms without compromising her artistry. Crucially, sync placements offered her a way to sustain herself financially, especially when live performances halted during the pandemic. In a shifting industry, Katie’s success in sync typifies a growing trend for many independent artists: licensing music for film, television and adverts has evolved from a niche opportunity to a serious revenue stream and outlet for creative exploration.

‘PRS isn’t just about the money: it’s about all of us winning.’

Sync has also enabled Katie to expand her creative network. In 2020, she met UK composer and producer Sarah deCourcy while busking in LA, leading Katie to join a Christmas project Sarah was working on as a vocalist: ‘I was broke and didn’t know how to record myself in the midst of COVID,’ Katie recalls. She got on a call with Sarah with the hope that she was going to earn some quick and much-needed cash. ‘We wrote these songs; they ended up in movies and TV shows and all of this incredible stuff,’ she says.

This triumphant collaboration prompted Katie to reassign her royalty collections outside of the US to PRS for Music, putting her in a strong position to make an impact on a global scale. ‘We were starting to see a lot of success in the UK,’ she says. ‘PRS isn’t just about the money: it’s about all of us winning. I really feel that from them. They’re always thinking of ways to get us in rooms or to helps us get off the ground.’

In an industry increasingly focused on metrics and social reach, Katie’s dedication to songwriting and emotional resonance stands out. Her story is more than just a tale of personal triumph: it’s a window into the changing landscape of the music business itself. True success, Katie’s story suggests, isn’t about following a formula — it’s about rewriting it.

Katie remains anchored, though, by her enduring love for the craft of songwriting. ‘When I’m 90, I’m not going to care about the numbers,’ she states. ‘I’ll care about the songs I wrote.’

Katie with artist, songwriter and producer Viv Parker at the premiere of We Live Here: The Midwest in 2023 (Photo: Press)

Photo: Press

HOW ARE THE UK’S LEADING MUSIC ORGANISATIONS SUPPORTING MUSIC CREATORS?

Words: El Hunt

M explores the vital and progressive work these industry bodies deliver when it comes to sustaining our vibrant music ecosystem.

From exploring your creativity day after day to being able to share your innermost thoughts and feelings with people around the world, there is so much value in being a music creator.

However, life as a musician has its own set of unique challenges. Operating as a freelancer, as many musicians do, can feel isolating and precarious — sometimes unavoidably blurring the line between work and personal time — while any feelings of anxiety about your career, your craft or your performance need to be managed. All in all, these factors can take a serious toll that stretches beyond inhibiting your creativity.

While it may sometimes feel like you’re all on your own, there is a huge amount of support out there for musicians at every stage of their career.

HELP MUSICIANS

The UK’s leading charity for professional artists in all genres, Help Musicians has provided invaluable support, including funding and mentoring, to music creators in work and retirement alike for over 100 years.

‘We know that a career in music is a rewarding one, but it’s not without its challenges,’ Liam Hennessy, head of health and welfare at Help Musicians, tells M. ‘We’re there in times of opportunity, offering a range of support to help musicians build a sustainable career in music by equipping them with the tools and the skills they need to succeed. We aid musicians’ career development by providing financial support to seize opportunities, build their understanding of the industry through our expert business skills sessions and provide tailored guidance through our Co-Pilot mentoring programme.’

As well as these initiatives, Help Musicians is also there ‘in tougher times’, as Liam explains. ‘Through our breadth of health support, we’re here for musicians experiencing long-term illness, isolation and performance-related injuries, as well as through retirement. We also offer wider health and welfare services, including preventative hearing protection.’

ATTITUDE IS EVERYTHING

Since 2000, Attitude is Everything has been on a mission to amplify the voices of disabled people and improve accessibility across the music industry. From working closely with industry organisations and professionals to promoting greater accessibility at live events, it is helping to drive real and lasting change.

‘As a disability-led charity, we connect disabled audiences, music creators, professionals and volunteers with the UK’s music and live event industries to improve access together,’ explains Jacob Adams, head of campaigns at Attitude is Everything. ‘Disabled music creators can face many additional barriers to success in addition to those present for all aspiring artists. Past surveys have shown that people often compromise their own wellbeing to perform live, feel that funding is inaccessible to them and feel removed from the vital communities that people need to thrive in the music industry.’

At the heart of Attitude is Everything is its growing network of music creators, who are invited to partake in dedicated career development sessions, consultations and peer support group calls. One of the organisation’s key initiatives is Next Stage, which aims ‘to break down the barriers that prevent disabled music creators from accessing music-related income, talent development and funding opportunities’.

Jacob notes that Attitude is Everything also works closely with its industry partners ‘to influence venues, festivals and grassroots promoters when it comes to better engaging with disabled artists who are seeking to perform live’.

MUSIC MINDS MATTER

Music Minds Matter runs a dedicated support hotline for anyone in the industry who may be in need of free mental health support — open 24 hours a day, seven days a week.

‘No matter if you’re on stage, behind the scenes or in between, Music Minds Matter exists to ensure that everyone working in music has somewhere to turn to for their mental health,’ Grace Meadows, head of Music Minds Matter, tells M. ‘We connect them with information, support, experts and one another to get help when it’s needed and boost their mental wellbeing. We also collaborate with partners across every part of the music industry to deliver information, tools and services to increase awareness and empower people at all levels to promote and protect mental health.’

The helpline is staffed by skilled counsellors who are there to listen around the clock, and calls are completely free and confidential. If it is an emergency, or if you or someone you know is at imminent risk of harm or in acute distress, you should instead call 999.

ARTS COUNCIL ENGLAND

Arts Council England has championed the arts since its formation in 1994 by putting serious financial backing (itself funded by government and National Lottery funding) behind creative projects. The charitable organisation currently pumps more than £500m per year into the creative arts and has committed to continue this level of investment until 2026.

‘As the national development agency for creativity and culture, it is Arts Council’s role to ensure that high-quality art is accessible to everyone in England, no matter where they live or where they come from,’ says the organisation’s director of music, Claire Mera-Nelson.

‘The music industry, which brings so much joy to people, is a huge part of our country’s creative and cultural landscape and we are working hard to ensure that artists, choirs, bands, orchestras, venues, festivals, promoters and many more can reach their full potential and share their talent and passion with audiences across the country.’

Arts Council England supports artists with several different funding options, from National Lotteryfunded grants and a dedicated Supporting Grassroots Music pot to an open-access regular funding programme. An additional funding pot, Developing Your Creative Practice, is tailored towards artists who want to focus more closely on their creative development.

MUSICIANS' UNION

As the UK’s leading trade union for professional musicians — representing 35,000 members — the Musicians’ Union represents and advises music creators who are actively working across the industry.

In addition to the wide-ranging support it offers to its members (ranging from tax advice to how to tour abroad), the MU also campaigns for greater fairness across the industry and has dedicated set of resources for young musicians who are hoping to build a sustainable music career.

You can currently join the MU for £1 a month for your first six months; beyond that, standard membership costs £21 a month. There are also several subsidised options for disabled musicians, students or members of partner organisations.

THE IVORS ACADEMY

‘We are proud to protect, empower and champion the creative community,’ Roberto Neri, CEO of The Ivors Academy, tells M. ‘Our mission is to support songwriters and composers at every career stage by providing essential resources, celebrating outstanding achievements and advocating for your rights and value.’

As well as connecting creators, offering careerboosting resources and campaigning for an equitable music industry (taking a stand on such issues as AI and music streaming), The Ivors Academy also champions its members through two annual awards ceremonies. The Ivors celebrates exceptional achievements in songwriting and screen composing (recent winners include Adele, Dave and Stormzy), while The Ivors Classical Awards recognise outstanding contemporary composition for classical music and sound art.

‘By joining The Ivors Academy, you strengthen our collective voice,’ Roberto adds. ‘This allows us to better represent and advance the rights and value of songwriters and composers across the UK and beyond.’

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