I am a music business executive, artist advisor, and author.
I advise artists at all stages in their career, from grassroots to global superstars, across all genres of music from mainstream to specialist and experimental genres, and from those signed to major or independent labels to those who self-release. I have a longstanding relationship with Help Musicians, which supports artists through grant-funded schemes such as Do It Differently and the MOBO funds.
My advisory work builds on over thirty years in the music business, with over a decade spent in artist management, working for several artist management companies and leading music law firm, Sound Advice (Legal) LLP as a non-legal consultant. I served as a board director of the Music Managers Forum (MMF) and as an advisor to the CEO and board of the Featured Artists Coalition. I have worked with artists as varied as Yusuf Islam (Cat Stevens), Chase and Status, Pendulum, James Morrison, Dido, Cher Lloyd, Katherine Jenkins, Andreya Triana, Imogen Heap, Dave Rowntree, Nick Mason, and many more. I also advise two-time Grammy award winning producer, mixer and engineer Cameron Craig.
As part of the executive team at UK Music, I write its annual economic report, This Is Music, and advise on a range of industry matters. UK Music represents the collective interests of the music industry to government and the media. Before this, I was a board member of UK Music, most recently as founder and chair of the Futures Group, which connects young executives, entrepreneurs, and creatives to industry-level policymaking. I also led a transparency code of practice.
My industry career includes corporate and entrepreneurial experience in various creative and commercial roles across the global music business; this includes spells at BMG Records and Sony Music, working in rights acquisition, tour production, artist management, and several tech start-ups including one of the first artist direct-to-consumer platforms working with U2, Genesis, New Order, and Feeder.
I developed an interest in technology while at university in the early 1990s, writing my dissertation on the digital distribution of music, one of the first major works of its kind. As a student, I helped promote gigs, including a Nirvana show the week Smells Like Teen Spirit was released, interviewed Primal Scream on the Screamadelica tour for a fanzine, and DJ’d in various alternative clubs and on student radio.
During my career, I have negotiated recording, music publishing, merchandise, brand endorsement, live performance, TV production agreements, various litigious matters, and overseeing the financial management and investor relations for UK and US corporate entities. I have worked with many music law firms and accountancy/ business management firms on both sides of the Altantic.
Social advocacy is important to me. I have a long track record in advocating for underrepresented and marginalised groups. My involvement in this work has accelerated since 2016, and, in the process, I discovered I have two protracted characteristics myself. I am Autistic and ADHD. I encourage the music industry and the wider world to embrace those who think differently, because thinking differently is at the heart of creativity and invention.
Since meeting the late Tony Wilson and Yvette Livesey at the inaugural In The City Music Convention in 1992, I have spoken and moderated at conferences around the world, including a long-term relationship with In The City, but also The Great Escape, Liverpool Sound City, and Midem. I have written for Music Week, Music Business Worldwide, Record Of The Day, Berklee College of Music Rethink Music, and MMF’s Dissecting The Digital Dollar.
Outside music, I wrote Diversity In Cycling to encourage greater diversity and inclusion within cycling. This work is supported by governing body British Cycling and has achieved global recognition, featured by the BBC, Eurosport, and Bicycling (USA).