As part of our Horizon Future Leaders series of interviews, we are connecting with the music industry’s next generation of leaders to gather candid advice and insights into their career journeys.
This week we caught up with Zine Abdi, Communications Manager at Love Is The Message, a PR agency specialising in music, education, sports and art.
After realising while studying TV production at university that his career ambitions were better placed in the music industry, Zine began building his network and planting the seeds that helped him reach where he is now – an impressive career across major campaigns and DIY initiatives.
He shares insights on navigating the music PR industry, the importance of networking, and how pivoting careers is okay. Zine’s path proves that involvement in grassroots projects can open doors and catch the attention of companies that will help you take the next step up.
What’s your current role in the music industry?
Full-time I work as a Communications Manager at Love Is The Message, working across all our clients and campaigns from DRUMSHEDS to Body Movements with my incredible boss, mentor and bestie, Dresden Leitner.
I was also invited to be a part of the Block9 press and media team at Glastonbury.
On weekends, you will often find me at a club or festival keeping everyone sweet – and of course dancing – as an artist liaison for promoters such as Columbo, Percolate and Boiler Room.
Recently I have been supporting an underground DIY Magazine Steppin’ Out across their features and events.
I also work with a handful of venues and promoters on street marketing campaigns that you have probably seen around Shoreditch or Hackney Wick.
What does your general day-to-day look like?
As many music industry individuals can relate to, no day is the same! One day you can be running around with Bimini in Soho getting content encouraging people to vote in the general election, the next, you are looking after The Sugababes.
Aside from pitching out features and news to publications, my job involves a lot of relationship building, client management and creating ideas.
Working on-site at festivals and show days are my favourite, because it always feels special to be a part of the magic behind the scenes and seeing your own ideas/input come to life. One thing for sure is I am always kept on my toes, which is why I adore it so much.
What steps did you take early in your career to gain experience and build skills to get you where you are now?
Loads of networking, late-night stints and pestering people! I realised while studying TV production at university that the course wasn’t quite for me.
As soon as I came to this realisation, I began listening to podcasts, chatting to anyone I knew who worked in music or knew someone who did, trying to navigate what career would be best for me. I cannot stress enough how important it is to build your network, planting seeds to help grow your own pathway.
What opportunities did you explore early on that were particularly valuable?
I moved back to London after graduating from uni and started as a Promotions Assistant at Hyponik, this was a foundation for a lot of the contacts I have today and allowed me to learn my basic music business acumen. It put me at the forefront of where electronic music was, particularly in London at the time, and gave me a good idea of the landscape of the scene I wanted to be a part of.
Aside from this, door shifts! Ticket scanning shifts were so valuable to me because they put me at the heart of exactly where I needed to be, meeting punters, promoters and venues. I climbed my way up from there demonstrating my industry knowledge and dedication all the way.
Until I met Dresden at Love Is The Message, I never really had the opportunity to communicate my creative abilities within music, but she really saw my potential and gave me the chance I needed to really start cutting my teeth on a big scale.
Has the opportunity landscape changed since then?
It saddens me because working in music truly is a privilege that sometimes I feel is gatekept. I often worry about the fact we are probably missing out on an entire cohort of industry talent because trying to get your foot in the door is so hard these days.
It’s even harder if you are a woman, trans person or queer individual, because the music business does sometimes feel like a cliquey boys club. As times become more uncertain, I think people are less inclined to move around and try new roles like they used to, which means vacancies can feel few and far between.
Are there any specific internships, projects, or initiatives that you would recommend to newcomers looking to pursue a similar role?
I always rave about Doors Open, because it is so specific to electronic music and has a wide range of jobs from live event work to artist management positions along with a series of initiatives such as their career development project ‘Unlocked’, which aims to create a foundation of knowledge for careers that exist in music.
What advice do you have for building and leveraging a professional network in the music industry?
When people think of networking, I feel like they tend to look at it in such a black and white mundane manner which it doesn’t have to be. Nurturing positive working relationships and friendships with people who are in the same circles as you will always come in handy, however it’s about the work you put in, in your own time, that counts at the end of the day.
How has the evolving digital landscape impacted your role, and where do you focus to stay ahead?
Working as a music PR was never really something I thought about but, in the past year and a half, I have seen editorial move further and further into the digital world at a rapid pace. In a cost of living crisis, you could argue who is going to spend x amount of money on a magazine when they can pick up their phone, log into Instagram and engage with content that way?
However I will still see the beauty in old-school print, magazines are culture and are documented timestamps on trends, fashion, sociopolitical context, the list is endless.
When you see how spoiled we are for major electronic music media platforms in the UK and London specifically it makes you realise how incredibly talented we are as a nation, and that’s without all of the other small zines popping up that are doing their thing for something more than cash and social clout.
Defo one of the very few reasons I can say I am proud to be British.
What trends or changes do you see on the horizon for the music industry, and how can early career professionals prepare for them?
I think everyone is starting to realise the freedom of becoming a freelancer. Who says you have to work nine to five doing the same role Monday to Friday? If you have multiple skills why not use them?
All of my peers I see thriving have the advantage of working for multiple people across multiple projects. Of course, this takes a little more time management, but if you have the skill set and expertise why not develop experience at two different work places at the same time?
However, being a freelancer you also need to understand how to manage your finances better, such as taxes and budgeting without a salary.
What’s one piece of advice you wish someone had given you at the start of your career?
Know your worth. I feel like a lot of individuals are often taken advantage of in the infancy of their careers when it comes to being offered jobs. Exposure is all well and good but is it paying your bills? If you’re passionate, hard-working and good at something, make sure you are paid your dues.