Where are you based?
I am based in Liverpool, the daughter of Merseyside aka Paradise.
Where do you work? What do you do?
I am employed by an independent music publisher called Sentric. I work as a Synchronisation Manager. It’s my job to push our copyrights for opportunities in TV, Advertising, Film and Games.
What are you listening to?
Lee Hazlewood’s Discography
How do you discover new music?
We operate a no-barrier-to-entry music publishing platform so there’s always an ever-flowing river of new artist sign-ups, catalogues and traditional signings to take in. There’s an ongoing internal A&R process to identify the best new music that comes on board. So that’s definitely one of the primary ways in which I discover new talent.
External to the day job, I’m an avid listener to NTS Radio which is expertly curated by tastemaking artists and producers. I also subscribe to esoteric Wire Magazine and locally, we have a fantastic music monthly in Merseyside called Bido Lito! Magazine which is surely one of the best regional titles in the World.
What formats do you usually listen to? LP, CD, Cassette, Digital, Streaming Services? Why?
I listen to music exclusively on streaming platforms, specifically Apple Music and Spotify or on online radio shows. I don’t really consume music from physical mediums anymore simply because it’s not as convenient and I have no desire to become one of those materialistic hoarders.
“I don’t really consume music from physical mediums anymore simply because it’s not as convenient and I have no desire to become one of those materialistic hoarders.”
Where do you do most of your music listening?
I listen to music all day at my desk when pitching for sync. So my ears are usually pretty burned out at the end of the day so I try to give them a break after hours.
How do you find and listen to pre-release music?
As a publisher, we regularly receive audio pre-releases from our clients. Sometimes music supervisors are looking for a track that will be released to coincide with the commencement date of their production which could be many months away, so it’s advantageous to know about pre-releases in that sense.
What are your frustrations with listening to music digitally? Any benefits?
I make effective use of library features to make and collate collaborative playlists and as a publisher, we also have access to certain developmental tools that give us streaming insights and data on our artists. For example, The Spotify Publishing Analytics Tool can tell me how many streams you’ve had in Germany, for instance, over the last 28 days which is useful if Siemens is looking for an emerging artist for their new campaign.
How do you keep track of everything you are listening to?
We have quite an organised pitching platform called DISCO that was created with music supervision and the sync industry in mind and this allows us to effectively manage our catalogue.
Do you tip other people off to new music? How?
Of course, it’s my job to be a tastemaker for music supervisors and agencies. It’s important that I know their tastes and their clients’ tastes in order to put relevant artists under their noses to be considered for campaigns and placements.
Anything you want to “promote”?
If you’re reading this and you’re a songwriter or producer who creates original music then you really ought to check out Sentric – we’re an award-winning publishing service with the sole aim of adding value to your copyrights.
