Interview: Melody Music

One of our writers, Daniela Roux, recently got to interview Moon, aka Melody Music, an independent organiser and event coordinator within the breakout music scene. Within this interview, they discuss topics such as the emerging landscape for new artists, setbacks new artists may face, the monetisation of art, and cultural and industrial pressures which surround the music world.

Q: To start, can you explain your work as an independent organiser?

A: To start off with, I just want to say thanks so much for this incredible interview opportunity! If anyone is getting to know me through this interview - hi I’m Moon!

As an independent organiser I’m the midway point not only between artists in the music scene and the public, but also those artists and entertainment companies/record labels/A&R. My main goal is always to help artists with exposure, because I believe first and foremost that is the most effective way to find your footing in the industry. It helps with getting their talent and music out there, but also enables them to become comfortable performing in a safe encouraging space.

Q: What drew you to championing emerging artists in the first place?

A: To be honest with you, I feel like I genuinely just fell into it! I’ve always been involved in music, and after a short period interning at a small record label in Nottingham, I realised how much I loved being behind the scenes of the music industry. As much as I love the creative side of it e.g. production and songwriting, I also found I had a talent for management and organisation. After getting back into the music business in late 2025, it dawned on me that open mic nights aren’t a usual place for students to go for a night out, and I was inspired to start Moonkissed. I realised that smaller artists - especially younger musicians/poets would benefit greatly from new support from people who would have never had to chance to hear their work ordinarily.

Q: How would you describe the current landscape for new artists to break through today?

A: Overall, I would say it’s definitely challenging, as the current landscape is different than it used to be, which is has its pros and cons. I would honestly say it’s becoming quite difficult. The current landscape is already quite oversaturated so new artists are finding it difficult to find their footing in the creative world - having to balance keeping their niche and also appealing to the masses. Whilst it may be easy to find an open mic to attend, it’s always difficult to move on from there and boost your brand. If you’re not particularly ‘tech savvy’, promoting yourself becomes so much harder as the majority of people now rely on social media to keep updated with new content, ideas and artists - it’s easy to get lost in the sea of people. Additionally, with the rise of AI art in all its forms, it’s hard for actual creatives to sell themselves as people feel it’s easier to input a prompt than support growing creatives by hiring them/supporting their work.

On the other hand, the landscape has become so diverse and complex that there is an opportunity for absolutely everyone to find their place and audience. Currently it is becoming easier than ever to reach people who resonate with your work from all over the world. There’s so many micro-communities online that you’re bound to find somewhere to connect with others. Even in real life, once you’ve found your community- whether it be other artists in your genre, producers, writers or even fans, it makes it easier.

"It’s hard for actual creatives to sell themselves as people feel it’s easier to input a prompt than support growing creatives by hiring them/supporting their work."

Q: With the rise of social media, streaming, and independent distribution, how has the entry point into music for emerging artists shifted?

A: As I just touched on, the entry point for emerging artists has simultaneously become wider and narrower. The way the industry is now, you don’t need a big record label to promote your music/art for you anymore, you can simply start posting online, distribute independently and grow your following yourself all while keeping your individuality. There’s no longer a need to be “discovered” by a big shiny entertainment platform. That being said, because so many emerging artists are taking this independent route, it is becoming increasingly crowded as everyone is vying for attention and support from those online. This is making it harder to breakthrough. There’s no recipe for ‘blowing up’ on TikTok, or a sure way to go viral on Instagram - not for free at least, and so many new artists don’t have the money for paid advertising. Therefore it can become quite exhausting and frustrating to market yourself without any help. Because it’s so hard to self manage, this all leads to the desire to make it the traditional way of being scouted and taken under the wing of an entertainment company to get your songs on the radio and etc. It seems to be a never ending loop for artists - should they risk being independent with no guaranteed way of getting their work out there, or try and get scouted and risk losing autonomy and control over their music?

Q: In your experience, what kinds of artists are showing up most often in grassroots spaces right now? Any striking similarities?

A: That’s a good question. Because I’m aiming to create a community with space for all people, the artists I’m seeing are all so different, from their genres to their aspirations. At Moonkissed alone I’m seeing bands, indie artists, rappers, DJs, poets, afrobeat artists, RnB singers and so many more. The most striking similarities I’m seeing in them however would be their drive. They’re all so incredibly talented and passionate about what they do. It’s extremely inspiring to see and really great energy to be around. You’re constantly just seeing people work hard, encouraging each other and pushing themselves to be their best in order to make it in the industry. It’s genuinely one of my favourite things about these spaces.

Culture and Industry Pressure

Q: How do you personally see the struggle to balance creativity and marketability for new artists today?

A: The struggle is real! I’m seeing how hard it can be to keep your individuality while also having to make yourself appealing to new people. In order to stay relevant it’s always sensible to keep up with trends, but not everyone enjoys doing that. One artist’s creative way of marketing themselves may not garner a lot of attention, whilst another one who keeps up with trends may see more engagement. There’s a balance between staying true to yourself and who you want to be as an artist, but also finding ways to be relevant in the music space. It takes a bit of trial and error but eventually you’ll find an audience that appreciates your creativity and niche without you having to conform to things you’re not comfortable with.

Q: Some may argue that the music industry is more commercialised than ever – what has the shift done to emerging voices?

A: I think this shift has pushed out a lot of emerging voices, as the music industry becoming increasingly commercialised is making it easier for people to be exploited. Many artists come into the industry with slightly rose tinted glasses, thinking that once you’ve been ‘discovered’ or gone viral that’s it - you’ve made it. But as I mentioned earlier, being scouted and taken on by a record label comes at a cost. You can quickly become a product to sell, your individuality can be stripped from you and you can be given a new public facing personality purely because they think it fits better. As a musician, your artistic authenticity is everything, and having your creativity stifled hurts. Now this isn’t always the case, but there’s countless stories of artists losing themselves and their passion for music because they’ve been made to feel they’re only important or valuable if they’re selling. This can discourage a lot of new artists from even starting to make it in the industry, because once it does become your job, all these factors can cause a loss of interest in your career, which is why many people choose to keep it as a hobby.

On the other side of things, with the current economic situation, many musicians are having to take second/third jobs to stay afloat which quickly results in artistic burn out. Because music is so commercialised, if new artists aren’t making money or gaining a following fast enough, it becomes tempting to give up, so the only people who can make it become those who are financially stable enough to pursue a career full time. Additionally, in order to start making money, an artist has to pay to get exposure; whether that be from advertisements, playlist fees or social media boosts. If someone is not in the right financial position to continually contribute to these things, it’s less likely that they will be discovered.

Q: What pressures do you notice young or lesser-known artists facing as a result of an industry based on algorithms and monetisation?

A: One of the main pressures I see emerging artists facing is staying true to themselves. As I said earlier, there’s no sure way to go viral, but there are always methods that boost your likelihood of success. The issue with this is that artists are feeling pressured to partake in trends and ways of advertising themselves in order to stay relevant that they usually wouldn’t be confident doing. But the need to be seen and heard by the world is driving them to keep up with the ever changing algorithms which in turn may start to feel like a loss of creative control. Additionally, with the focus on monetisation, younger artists especially are suffering as they simply do not possess the funding needed to promote themselves the way they need.

Q: Why do you think its especially important for independent platforms to highlight emerging talent in this era?

A: I think this is a really good question, specifically with the rise of the commercialism in the music industry. Independent platforms play a huge role in introducing new talent to audiences, and by helping to highlight these emerging artists, they help give them the boost they need to find their community without having to spend an arm and a leg. Because the music industry tends to focus on certain kinds of artists/genres, independent platforms have a unique opportunity to introduce new perspectives and a diverse range of talent into the music scene. It evens the playing field slightly, and gives more exposure opportunities to artists who ordinarily wouldn’t have been able to be seen.

"Independent platforms have a unique opportunity to introduce new perspectives."

The Monetisation of Art

Q: Do you think the expectation to monetise art from day one impacts the type of art emerging artists feel able to create?

A: Absolutely. When artists are expected to make money as soon as possible, it’s very easy for them to fall victim to becoming a cash grab for bigger companies. They’re essentially at the mercy of the contract they signed and may feel stifled in their craft due to this. Even with independent artists, the expectation to immediately create income is a huge factor in the creation of their art. There becomes a pressure to focus on selling themselves to increase their popularity which in turn leads to less of a focus on their art. If an artist is worried about staying afloat, they are more likely to sacrifice their creativity and passion to ensure that everything they create is received well. This usually manifests as a lack of depth in their work, or the transformation into more mainstream art. The industry values art that follows current trends, and any experimental or creative works may not get a chance to properly shine due to this.

Q: In your view, is the commercialisation of music inherently a bad thing?

A: This is a bit of a tough question. Inherently? No, I don’t think so. I believe that artists are an integral component to society and I’m all for musicians being rewarded for their craft. Music is something most of us can’t live without, and I think those who are involved in creating it are more than entitled to being paid for it. However, whenever there is money to be made, greed will always surface. Exploitation and competition begin to occur, which starts to muddy the waters slightly. Emerging artists are taken advantage of for their drive and enthusiasm, whilst consumers are often affected by price gouging and dynamic pricing for all sorts: music, concerts, albums, merchandise etc. When greed prevails, both sides suffer, so it’s up to both the artists and the fans to keep pushing for the fairness and equality that the music industry needs.

Q: If you believe the current music scene is not congruent for emerging artists (and even if you don’t), what practical steps could organisers, audiences or institutions take to create a safe space for emerging artists?

A: Firstly, I believe organisers should be involved in more grassroots movements/spaces in the music scene by helping promote emerging talent without taking advantage of their passion. It’s difficult when you love music and want to share it with the world, but are blocked by the very people who should be helping you. The fees that new artists must pay to be promoted alone is off putting enough already, let alone the limited amount of places to even be promoted. Instead of only looking to create profit by supporting known talent, organisers should take a chance on newer artists also, as they deserve to be highlighted just as much.

I feel the same way about audiences too. It’s easy to complain that music now is boring and too mainstream when you’ve never actually ventured out to try and listen to new artists. The music you’re seeking is out there, playing at an open mic night in your local pub, practicing in a music room at your university, putting their music online despite only having 11 followers. It’s up to you to seek out the talent you want to support. Institutions more than ever should be pushing for recognition for all kinds of artists. With all the removals of our creative courses, we must make sure that our artists’ voices are being heard.

"It’s up to you to seek out the talent you want to support."

Q: What are some barriers that artists have when trying to break into the industry?

A: There are quite a few barriers that different artists face when trying to break into the industry. In terms of the music they create, it becomes much harder to gain recognition with a more experimental/innovative sound or style. If you don’t necessarily fit the “cookie cutter” image of a musician in your genre, it becomes more of a struggle to find your place. Female artists have a lot more of a challenge finding their footing in male dominated spaces - I’m currently the only female producer I have met in my networking circle. Additionally, this becomes harder as a minority. If you’re a black artist that isn’t primarily interested in RnB or Afrobeats, it becomes harder to be taken seriously in your work and becomes more difficult to find your audience.

Although I personally cannot relate to this, an artist who is a member of the LGBTQ+ community will have to break several barriers to be their authentic self and prevail despite everything. Artists with disabilities (whether visible or invisible) and those who struggle mentally will also have to break down barriers pertaining to their own struggles and the prejudice that comes with it. Essentially what I’m trying to say is that if you’re not a specific type of individual, you will always encounter a hurdle, but with enough persistence you can overcome it.

Q: Can you share a moment where you saw an artist choose authenticity over commercial pressure, and the impact that had on their growth?

A: Whilst it’s not a specific moment, I really admire ‘Alt Blk Era’ and the way they choose to be authentic to themselves. I was first introduced to them by a colleague that knew them personally, and immediately saw how unique they were. The two members are black girls from Nottingham with an alternative style who create music inspired by rock and are occasionally influenced by rap. I was especially impressed as I’m a black girl who dresses alternatively and always felt slightly odd for listening to rock and metal music. Despite the overall commercial pressure to be constrained to one box, they stayed true to themselves and in turn have found their audience. They’re currently preparing for their UK tour and I think they’re huge inspirations for any upcoming artists. (This is not an advertisement but buy tickets to their show - they’re amazing).

Q: Looking ahead, what changes would you love to see in the wider music ecosystem to ensure emerging artists can thrive without compromising their artistic identity?

A: One of the main changes I would like to see in the wider music ecosystem is more opportunities for emerging artists. More open mics, more festivals, more free promotion and community. The whole point of Moonkissed is to provide a safe and encouraging space for emerging artists to perform, experiment and hone their skills. They’re free to be creative and most importantly be themselves. I really feel that we need more events like this so people can discover these artists as their most authentic selves. So yes, I would like to see more community and support for emerging artists.

Q: Finally, do you have any advice for emerging artists? This can be anywhere in the arts.

A: The main piece of advice I have is to just try. I know it can be scary and stressful and embarrassing to put yourself out there but there’s honestly no other way. You’ll make mistakes, not everything will be perfect and that’s fine! We’re all human, and those around you will always be supportive and help you to improve. No matter what we do, we’ll always be embarrassed about our past, so you may as well get it over and done with. Many artists are afraid of being seen as “cringy” or “trying too hard” but honestly guys to be cringe is to be free. Be your authentic self and the right people will find you. Stay true to yourself and support your fellow artists - you’re not in competition. Use the tools at your disposal and don’t give up because the only person who knows what you’re capable of is you. You’ve got this!!

"Be your authentic self and the right people will find you."

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Written by Daniela Roux

Edited by Charlotte Turner