Blog

Nadia Vilaisaeng

Growing up, I’ve always been surrounded by music. No matter the genre, I’ve always loved going to concerts, festivals, and events. I went to my first festival when I was 18, and it was such a fun and memorable experience. After that, I started attending nearly every festival I could in Texas, eventually traveling to festivals in other cities as well.

I was always the person planning the trips. Whether it was coordinating for six people or twenty, I genuinely enjoyed making sure everything was organized and taken care of in advance. What I enjoyed most was seeing my friends have a great time. Knowing that I helped create an experience that made them happy made me happy, too. Looking back, I realize that my love for planning and creating memorable experiences was always there – I just hadn’t realized I could turn it into a career.

During my last year of college, I was still figuring out exactly what I wanted to do, but I knew the entertainment industry was something I wanted to explore. While searching for internships, I came across the Disco U Program. At first, I was hesitant to apply. I wasn’t sure if it was the right path for me, and part of me was simply scared to step outside of my comfort zone. Eventually, I thought, “it doesn’t hurt to try”, and decided to apply.

A couple of months later, I received an email asking if I wanted to be a Disco U Intern for Ubbi Dubbi 2025. That opportunity introduced me to so many incredible people and gave me my first real look at just how much work happens behind the scenes of a festival. I quickly realized that the planning, coordination, and execution that go into creating these experiences were exactly what I enjoyed.

Through that internship, I began to understand what I wanted to pursue as a career: operations. Planning and executing had always been a part of my life, so I asked myself, why not make it a career? That internship ultimately opened the door to my career in Vendor Operations.

Today, as a Vendor Operations Assistant, I help coordinate vendor load-ins and load-outs throughout the festival, serve as a point of contact for vendors on-site, and assist with questions and day-to-day needs to help ensure operations run smoothly. Being on-site and seeing everything come together is one of the most rewarding parts of the job.

Being curious and detail-oriented has helped me succeed in this field. I’m someone who asks a lot of questions because I genuinely want to understand how things work and learn from the people around me. I’ve found that being willing to ask questions, stay organized, and pay attention to the small details can make a big difference in an industry where so many moving pieces have to come together.

Advice: Sometimes the biggest person stopping you is yourself. Don’t be afraid to push yourself and try something new. At the end of the day, you can always say you tried – and you might surprise yourself with what you’re capable of once you start saying yes to new opportunities.

Kat Potts

I’ve loved music my entire life, all genres. It’s one of the most healing things to me. Honestly, I wish I had been able to learn to play an instrument, but after many attempts, I realized it just wasn’t my calling (haha). I’ve been especially passionate about EDM for over 10 years. I studied marketing in both undergrad and graduate school, and while I was in undergrad, I landed a marketing internship with RCA Records in NYC in 2013. That experience solidified my desire to build some sort of career that combined my background in marketing with my love of music. Although my journey from college to where I am now took some time, I truly believe it all happened in perfect timing. Along the way, I was also able to weave in my passion for yoga and wellness, which ultimately became another meaningful part of my path into working in the EDM industry. Since then, I’ve continued to find ways to bring all of these passions together, with a focus on connecting people and communities, and uplifting people in any way I can.

I actually got my start working in the EDM industry through wellness. As a Wellness Facilitator, I began teaching yoga and meditation workshops at music festivals. That eventually led me to working with a music collective, where I gained experience throwing shows, working in artist hospitality, and learning the many different sides of the industry. Which then landed me in the best nest, Electric Hawk!

Since then, I’ve had the opportunity to continue to work across marketing, publications, festival programming, wellness, and artist management.

As a Marketing Lead for Electric Hawk, a big part of my work is creating ways both digitally and in-person for honest conversations around mental health and wellness in our community, not just celebrating the wins, but talking openly about the challenges and hardships so we can learn, grow, and support one another better. I also contribute to our publications department. Uplifting people across different parts of the industry and helping them reach a larger audience, share their passions, and tell their stories is sacred to me. I believe everyone has something meaningful to contribute, and that giving people a platform to share their art and experiences can create connections and help others feel seen, understood, and inspired. Whether it’s an artist, wellness practitioner, event organizer, creative, or someone working behind the scenes, I love finding ways to amplify the people and perspectives that make this community so special.

Through my work as Workshop Manager for Showcation Camp and Beyond Existence, I focus on creating opportunities for facilitators to share their talents, knowledge, and passions through workshops and experiences that go beyond the music. I love helping create spaces where attendees can learn something new, connect with others, and explore different aspects of themselves in a more intentional way. Whether it’s wellness modalities, flow arts, education, or other forms of self-expression, I’m driven to bring these experiences into festival spaces and create opportunities for people to share what they love with a wider community, while also adding more depth to the festival experience itself. Dancing and being silly during sets is obviously incredible and healing, but I believe there’s so much value in creating additional ways for people to feel, connect, express themselves, and come together in community.

Alongside that, I teach yoga weekly at two amazing studios, and manage a producer, Limbus Luna (if you’re reading this, check him out!). Outside of the wellness and EDM industry, I have also worked as a Digital Marketing Manager in value-based care technology and previously in diversity, equity, and inclusion. Those experiences have shaped how I approach community, storytelling, and creating meaningful impact in everything I do.

I think curiosity, adaptability, and a genuine desire to uplift others have been some of the biggest factors in my success. I’ve never wanted to limit myself to one lane, and I’m always open to learning, trying new things, and taking on opportunities that push me outside my comfort zone.

Most importantly, I care deeply about people and the community. No matter what area I’m working in, I’m motivated by helping people feel seen, supported, and empowered to share what they have to offer. There is nothing better than witnessing people confidently lean into their passions and supporting them along the way.

Advice: Don’t shrink yourself to make others comfortable. Stand in your power and trust your intuition.

Kaydence Galer

I’m an Event Coordinator at Disco Presents, where I help bring live shows to life. As the Social Media Marketing Manager at B&W Productions, I organize the socials and keep everything in line. I love the energy of live events and the work that goes into making each one happen.

Staying organized, taking care of myself, and having fun while remaining responsible and detail-oriented helps me find success.

Advice: My advice for women in this industry is to take care of yourself and set boundaries. This work can be fast-paced and demanding, and you do your best work when you protect your own energy.

Jessica Powers

My journey in the entertainment industry started long before I joined Moon Lvnding. While attending the University of New Mexico, I started working for Student Special Events and began booking shows on campus after being introduced to dubstep by friends during my freshman year in 2011. What started with an interest in one genre quickly grew into an obsession with electronic music. As I deep-dived into different genres and discovered more artists, I found myself wanting to become more involved in the scene.

Booking shows became my first opportunity to do just that. During college, I had the chance to bring artists like Tritonal, Cash Cash, Craze, and AC Slater to campus. Those experiences gave me an early look at what goes into putting on events and working with artist, managers, and booking agents.

After graduating, I continued exploring different sides of the entertainment industry, working as a stagehand and helping at festivals through Insomniac’s Headliner Experience. Each experience gave me a different perspective on the industry and helped me build a better understanding of the many people working behind the scenes to make events and experiences happen.

My path eventually led me to Moon Lvnding in 2021. I came across a tweet from Jason Euler looking for writers to join the team, and I decided to take a chance and respond. I have always loved writing, so combining that with my passion for electronic music made sense. What started as an opportunity to write about the music I loved eventually grew into something much bigger. In 2023, I stepped into the role of Assignment Director.

Today, as Assignment Director, I oversee Moon Lvnding’s team of writers and editors across the country. A big part of my role is making sure our team has the support and resources they need to succeed. I train new writers who are interested in joining the team, help current team members brainstorm article ideas, and answer questions about everything from assignments to applying for media passes.

I also help keep the content moving from week to week. With a team covering different parts of the country and different areas of electronic music, there is always something happening. I make sure we maintain a variety of coverage, from artist interviews and festival lineup announcements to album reviews and other stories that pop up.

A significant part of my day-to-day work also happens behind the scenes. I monitor both the Moon Lvnding general inbox and my own inbox for coverage requests, then connect those opportunities with members of the writing team. I also help update our weekly New Music Friday Heat playlist on Spotify every Friday, searching for new releases across genres like hard dance, dubstep, and drum & bass.

If there is one thing that has helped me throughout my career, it is being willing to take a chance. The worst thing someone can tell you is no. You never know what opportunities can come from simply putting yourself out there and asking.

I also believe strongly in being the biggest cheerleader for the people around you. Whether I’m working with an artist, a writer on our team, a PR agency, or a label, I want the people I work with to know that I genuinely support what they are doing. The electronic music community is built by people who are passionate about the same thing, and I think we all benefit from supporting each other.

Advice: For other women looking to find their place in the industry, my biggest piece of advice is: don’t be afraid to speak up and go after what you want. There is room for everyone. It doesn’t have to be a competition. At the end of the day, we are all here for the same reason – we love the music and the community that comes with it.

Morgan Stanley

Music has always been a pretty significant part of my life. I originally went to music school for college to become a singer/songwriter but, by the end of my second year in the music production degree, I naturally gravitated toward the business side since I was already focusing more on helping my classmates’ artist projects than my own. Soon after, in the middle of my A&R internship at Ultra Records, something was telling me that there was another side of the industry I should try and a great friend of mine in my class was interning at a management company with some iconic Electronic/Dance acts so I immediately had to reach out and connect. I was brought on as an intern soon after and worked on some amazing artist projects before I was officially brought on full-time as a Day to Day Manager at Prodigy Artists for Deorro and SLANDER; eventually also helping manage NGHTMRE & SLANDER’s label Gud Vibrations and launching SLANDER’s label Heaven Sent.

Primarily working across Porter Robinson, EDEN, Jai Wolf, and WINK, my current role at Slush Management includes a wide range of responsibilities across our entire roster. A few of my everyday tasks include music distribution, coordinating tour photo/video bookings, music release and tour marketing, tracking digital analytics, social media content ideation/posting, creative asset ideation/creation, admin management for publishing/royalties, and much more depending on the day.

Something that I’ve always followed in management is that no task is ever too small. When you look at the big picture of an artist’s business, there are so many moving pieces that help contribute to the project’s success and every little piece truly does make a difference. Coming from a true fan mindset, I have also always been a ride or die for the artists that I work with and I believe that’s all an artist really wants is a true advocate on their team.

Advice: Never be afraid to speak up and have an opinion. As a woman in a male dominated industry, you deserve every right to equally have a voice and a seat at the table. Also, love the saying “Closed mouths don’t get fed” because you are sometimes in certain situations the only advocate for you or your artist so embrace having the courage to speak up about what you need/want!

Abby Ellis

I got my start in the music industry almost 10 years ago while I was in college in Columbus, Ohio. I started with AEG/PromoWest doing venue maintenance (have cleaned some rough green rooms), then became a marketing intern while also bartending and working as a production runner. I basically lived at their venues! Getting hands-on experience across so many different areas early in my career gave me a really strong foundation and taught me just how much goes into making a show happen.

I’m a Coordinator at THE·TEAM, where I work alongside agents to help manage the touring business for our artists. My role spans everything from booking shows and analyzing deals to coordinating marketing, reviewing financials, and communicating with buyers, clients, and internal teams. A big part of what I do is keeping all the pieces organized, anticipating what’s next, and making sure everything stays on track.

Organization x 1,000 and being tech-savvy! I really think the two go hand in hand. I’m always looking for ways to make processes more organized and efficient so nothing slips through the cracks. With clients the size of Subtronics, there are a lot of moving parts, so having strong systems, thinking ahead, and being able to pull the right information quickly are essential. From an attitude perspective, I try to focus my energy on what I can control. There’s no sense in spending it on something I can’t change.

Advice:

1. Never apologize for something that doesn’t warrant an apology.
2. Always ask questions – you don’t know what you don’t know.
3. Don’t take criticism from people you would never go to for advice!

Aspen Hough

I work with a nonprofit called End Overdose, where we train individuals on how to respond to opioid overdoses and distribute life-saving resources like naloxone (also known as Narcan). I founded the Dallas chapter in 2023, and since 2025, we have been hosting naloxone training booths at Disco Presents festivals. Through our work at Disco Presents events, we have trained 2,230 people and distributed 3,790 doses of naloxone.

My role with End Overdose is to lead chapter operations across Texas and build relationships with festivals, venues, and other community partners. I lead a team that organizes fundraisers, social media campaigns, training events, and community outreach while recruiting and training volunteers. I also work to maintain the End Overdose brand while developing a unique identity for our chapter. As I continue expanding this work across Texas, I am currently launching an End Overdose chapter in Austin.

I got my start in the entertainment industry by volunteering and working entry-level positions at concert venues and festivals. I have worked in box office, VIP guest services, artist relations, and food & beverage. My first internship was with Loft Stories in Dallas, where I was part of the artist relations team. I researched and wrote blogs highlighting local artists and helped with production for a COVID-era drive-in festival. I have always loved working in live events and being surrounded by artists and creatives, and my work with End Overdose has allowed me to find the crossroads of many of the things I care about most: music, community, and keeping people safe.

I am currently pursuing my graduate degree in social work at The University of Texas, with a focus on mental health, harm reduction, and marginalized populations. My education has given me another perspective on the communities I work with and has helped me better understand how we can create safer and more supportive spaces within the entertainment industry. I am especially passionate about bringing harm reduction and mental health wellness into music and nightlife spaces, where education and access to resources can have a direct impact on people’s lives.

Advice: My advice to women entering the entertainment industry is to keep advocating for yourself. Make connections, find your niche, and let the world know that you belong, even when you are battling imposter syndrome.

Angela Dao

Since birth, I’ve been surrounded by live music. My grandpa was a Vietnamese immigrant who became a prominent MC that was invited to many events in West Michigan and I would always tag along. Our family also owned Saigon Video, which was a hub for the Vietnamese community for everything related to music, movies, TV shows; you could even rent our karaoke equipment and speakers. My parents loved karaoke and listening to vinapop and trance music.

My first concert was at the Intersection in Grand Rapids, Michigan, for Secondhand Serenade in 2008, and my first rave was the Poseiden tour with Zedd and Porter Robinson in 2012. After that, I spent about 10 years in the service industry bartending. In 2021, I finally got my foot in the door as an event coordinator at Fredrick Meijer Gardens. I managed art exhibits, weddings and live music in the amphitheater space. During this time, I remained a frequent patron at the Intersection. My merits landed me a job in their box office where I realized my life calling. I want to be just like my grandpa and cultivate a community with access to music in a safe, inclusive place. My work ethic at the Intersection opened many doors for me, leading me to box office gigs at festivals like Lollapalooza, Bonnaroo, Austin City Limits, Lost Lands and Gridlife, and even earning artist relation gigs with Summer Camp and Upheaval.

Today, I own and operate a boba shop, Jade Tea in Grand Rapids. Through my small business, I am able to curate a space where not only do I share my favorite music and community news with patrons, but also host events like live music or meet-and-greets with local and touring artists. When I’m not at Jade Tea, I am still an entertainment freelancer seeking out roles that let me learn new skills and grow as a music-lover, freelancer and small business owner.

I am able to do all of this by living the motto, “Work hard and play harder,” remembering that work comes first and fun is a guarantee. I keep calm under pressure and excel at logistics, making sure every duck is in its row. I see every gig as an opportunity and approach working a festival like someone would prepare for a marathon. I prioritize exercise, eating well, hydration and rest (especially knowing that sleep will not be easy at a camping festival where people can be up all night and day). It makes all the play more worthwhile. Once work is settled, the marathon isn’t over because you have to have fun; otherwise there is no point if there is no fun!

My Advice: If you cannot do it with a smile, then you need to readjust until you can. Those of us in the music industry are lucky to be part of the magic that is music. Too many people in this industry lose the spark that brought them into it in the first place – the spirit you carry reflects on the patrons. The music industry is essentially the modern-day traveling circus; our work is fun and there are plenty of people that want to do what we do. Don’t gatekeep because there is plenty for everyone to eat. It’s crazy to think about how women once did not have the right to be outside like this, so continue to infiltrate this male dominated industry and push forward to a new era for women and non-binary people. Lastly, please know how to administer Narcan as it can only do good for everyone.

Kate Nelson

10 years ago, I basically had no idea what raving was. I had never been to a music festival; until one fateful day during my sophomore year of college at New Mexico State University, a friend of mine asked “Do you want to go to Sun City?” “What is Sun City?” I replied. She told me it was the electronic music festival an hour away in El Paso, Texas. “Sure,” I said, “When is it?”

“In one hour.”

That split second, last minute decision modified the course of my life in ways I wouldn’t have been able to comprehend back then. I fell deeper and deeper in love with the dance music scene, and started going to as many festivals and shows as I could. It was two years later at EDC 2018 that I realized I wanted to be part of this space as someone more than just an attendee. It was a lot of trying and failing to get my foot in the door, but I finally got my chance in March of 2020 to write for a small, newly founded blog called Moon Lvnding, shortly after I moved to Phoenix, Arizona.

Over the years, we’ve progressed from a blog getting less than a hundred views a week, to having over 100,000 impressions a month. We’ve established a strong presence in the Arizona scene with vendor booths, and are working towards growing those out of state next.

After a couple years of writing, I was asked to step up as an editor, and since then have been lucky enough to take over as the PR director of the entire brand. One of my proudest accomplishments is creating the ethos behind our slogan Give Me Space, as well as helping drive brand recognition by developing our own unique content plans. I’ve had the privilege of interviewing artists like Chris Lake, Seven Lions, and Habstrakt, and covering some of my favorite festivals across the country. But truly, my heart lies in giving the opportunity to be somebody in this crazy world to others. I love working with all our team members to help them grow their skills and passions that allow them to chase their dreams, just like I was given the chance to chase mine. From late nights (or early mornings depending on how you look at it) breaking down booths after a festival, to the butterflies I still get when I’m about to sit down with a big artist, I truly love every single aspect of this job. I feel so privileged to be one of the people that gets a peek behind the curtain, and am always striving to build a safe and inclusive community where others can thrive as themselves day in and day out.

Advice: Having a “why not” attitude is one of the strongest attributes I think I have, and that combined with a refusal to quit has gotten me to places I only once dreamed of. My mom has always told me “throw the net far and wide and see what comes back.” It won’t always be easy, and the path won’t always be clear, but going in with the belief that you can do anything if you just try will get you a lot further than waiting for the perfect moment or perfect position. Take a chance on something new…you never know where you’ll end up or who you’ll meet.

Amber Uffelman

I started going to shows in 2013, and over time I found myself drawn to volunteering at events. I built friendships through the music scene, which eventually sparked my interest in the art that surrounds it. That inspiration led me to create the Rave Passport; a way for people to look back on their favorite moments from past events. Last year, I applied to VJ at Submersion Festival, which became my first official visual gig.

Currently, I work full‑time at a nonprofit, and on the side I create freelance art and sell my Rave Passports. My days are spent doing brand strategy and producing content from 9 – 5, and when I get home I work on collaborating with artists on freelance design projects for music promos, EP artwork, and promotional posters.

Success in any creative field comes from building connections and consistently investing time in your craft. Growth doesn’t happen overnight, it takes years of developing your brand, refining your skills, and putting your work out into the world. And sometimes, opportunity really does come down to timing and luck. All it takes is the right person stumbling across your work!

Advice: The industry is still very male‑dominated, but that shouldn’t stop you from putting yourself out there. Go for the opportunities you want, apply for that position! We need more women stepping into these spaces!

Natalia Martinez

I started photography in 2019 doing graduation photos for friends at my college. After dropping out I continued to take photos and my main niche was graduation and portrait work. I started going to a lot of festivals around the same time and my friend started a record label, Wubaholics which is how I started my transition into the music industry. I helped shoot the artists they signed and still do to this day!

My current role is freelance photographer – I shoot mostly live sets for artists and I do a lot of branding work as well. I also do some creative and social direction/ design work on the side. My day to day responsibilities vary depending on what I’m working on which is my favorite part about working for myself.

I found success in my profession by putting the art first. I’m not a very business savvy person and if I’m not passionate about something I’m just not going to do it. Photography has always been a place where there’s no right or wrong, no rules, and that’s how I like my process to feel. Over time, I found that people really resonated with my work and wanted me to help them capture their shows or brand. I think being focused on my artistic vision first helped me find success and made me stand out.

Advice: The more you get to know yourself and the quieter you get the easier it is to connect to your creative vision and listen to your gut. that’s the place you find the most magic.

Caroline Mongillo

Growing up in little ole Connecticut, it was not the easiest task to get involved in the music scene, but that didn’t stop me. At the ripe age of 16, I got my start by helping promote local shows at a small music venue called Tuxedo Junction. I was a part of their street team and developed a network of New England music heads – little did I know some of them would be involved in my artist management career down the line. Over the years that followed, as I moved from CT to Chicago, then to Michigan from there, I was involved in several roles within the music industry: Artist hospitality and art/deco coordination for music festivals; marketing internships at a music venue in Grand Rapids, PR copywriting for Elrow, and beyond. It wasn’t until after Covid (I had to pivot with the industry being shut down) that I moved into artist management. I naturally took on a manager position when my best friend, Jamie Martocchio (AKA JAMiAM) started producing and in October of 2023, Synesthesia Collective was born.

As an artist manager, there are several day to day responsibilities. It is mostly sending emails pertaining to bookings, label collaborations and releases, cover art design, artist/track feedback, etc. I am also setting up calls to network with promoters, to meet with my artists to discuss our upcoming plans and touch base on current projects, and chat with any additional parties that are involved. Artist management involves studying analytics and assessing current growth strategies for your artists, so I am always reviewing these as I plan and project campaigns/releases, etc. Additionally, travel is often a part of the job (and I love it!) so I am organizing transportation, lodging, and other accommodations for the artist, and sometimes, myself, as well.

Creativity, persistence, passion, consistency, and sociability are a few key attributes to note. You have to have a real passion for music, the community, and culture to make it in this industry. That will guide you towards success and keep you engaged for as long as need be. Work hardly ever feels like work when you are truly passionate about it, and it doesn’t matter how long the road to success is when you know you are doing something you love. It is all enjoyable. Persistence and consistency are important to stay disciplined and remain driven when you experience losses or face obstacles (and you inevitably will). You have to learn to keep going and keep putting energy towards what it is you are looking to have success with. Persistence also allows opportune doors to open later on that you may not have had success in trying to open at first attempt. Finally, being a student of life has really been quite vital in finding success in all areas of my life. Always looking to learn from those more educated than myself in certain arenas, or with more experience, and connecting with people who are masters in fields I am not is such a crucial part to becoming a successful individual. As an artist manager, this has allowed me to expand my capabilities in how I can help my artists grow, become more efficient in my organization with my daily tasks, and offer mentorship to other aspiring managers and industry workers. There is always more to learn, and knowledge truly is power.

Advice: “Fortune favors the bold,” a spin-off of the early Ancient Rome Poet’s statement (Virgil), “fortune favors the brave,” is an absolute staple for me. Be bold and don’t be afraid to take up space in a room of your male colleagues. Your feminine energy is just as powerful as their masculine, and it uniquely penetrates and fuels a space in a way no other can. Acknowledge your strengths and use them unapologetically. Stand in your power entirely, and know that great things can only come from this. Fortune in all meanings of the word comes from this.

Ashley M

Dance music has been my biggest passion since I attended my first festival in 2011 at age 15. I went into the weekend not knowing a single artist and happened to stumble upon Skrillex (playing on a side stage no less). This experience quite literally changed the trajectory of my life and introduced me to a world I never knew existed. After this, I was going to every and any event I could and my entire life quickly began to revolve around dance music.

Coming out of college, I didn’t know exactly what I wanted to do, but knew I had to be involved in the music industry in some capacity. I got my start working at a livestreaming company that had partnerships with Insomniac, iHeartRadio, and many large scale music festivals worldwide. For the majority of my time there, I was the only person managing social media, which really allowed me to grow my skills and find my niche. I covered countless festivals including EDC Las Vegas, Orlando & Mexico, Sziget Festival in Budapest, Rolling Loud Los Angeles & Bay Area, Life is Beautiful and many more, handling all photography and iPhone content onsite.

After 5 years, I was ready for a new experience and started working at Avant Gardner/The Brooklyn Mirage as the Social Media Manager. This job was an absolute dream for me, I loved everything about working on the shows from launch all the way through being onsite for the events. I was at the venue capturing & creating content and overseeing our media teams pretty much every weekend.
When the venue failed to reopen last summer, I began taking on freelance clients while I figured out what I wanted to do next. I quickly realized how much I enjoyed working on various accounts and decided to continue on this path. I currently work with festivals, venues, promoters, artists and brands, and get to do something completely unique with every project.

As a full-time freelancer, every day looks different which is part of the reason I love it so much. My responsibilities can include anything from developing content calendars, producing short-form video assets, helping shape brand strategy and more across multiple accounts. Some days I’m glued to my computer planning and launching campaigns, while others are spent onsite at events capturing and creating real time content. At the end of the day though, my main focus always revolves around sharing the energy and experience of live music.

I’ve always been extremely detail oriented and I believe that’s the biggest attribute that has helped me in my career. Whether it’s preparing for a launch, managing multiple moving parts across projects or curating content that feels authentic, every single detail matters. The music industry always comes with extremely fast paced environments making it easy to feel overwhelmed, and having a strong attention to detail is what helps me manage it all.

Advice: Never be afraid to take a chance, even if it feels out of reach. The worst someone can say is no, and sometimes that leads to an opportunity you would have never expected. You have nothing to lose by putting yourself out there and if you put in the work, what’s meant for you will fall into place.

Taylor Pittman

I was raised in a small town in Georgia where music mostly consisted of Hot Country and Top 40 radio. Then one day someone played “Is This It” by The Strokes and I was radicalized. I’ve been insufferable about music ever since!

I went to the University of Georgia (go dawgs) and studied Communications + Music Business. In school, I interned everywhere I could: the Georgia Theatre in Athens, and doing artist hospitality, booking, marketing, festivals – and realized I loved working in live events. That’s where I felt the “magic” … like discovering openers, stumbling across a new band at a festival, or just watching a super cute crowd really connect with a performance. To me, the possibility of music discovery paired with the intimacy of live music is just so incredibly special. I realized I didn’t just want to attend the shows, I wanted to be part of the reason people were there.

My senior year, instead of going on spring break to Costa Rica, I bought a student badge to SXSW and somehow talked my way into my dream summer internship at C3 Presents in the festival department. I graduated college in Fall 2019 which was arguably the worst time to try and enter the music industry. I landed my first job as a booking assistant at Paradigm (RIP), which lasted abouttt six weeks before live music and the world paused.

The agent I briefly worked for connected me to one of his roster artists’ management teams, which was a bit of a plot twist since management was the one area I hadn’t really explored yet; but I was grateful to stay in the industry when a lot of my peers were forced to pivot careers at that time. I spent a few years learning from that amazing team, then another year in management working with some electronic acts, and then … live music started to come back.

I was yearning to get back to that side of things, so when the Troubadour job popped up in my alumni newsletter it felt a little cosmic. And now here I am!
I’m the Marketing Director at the Troubadour in LA, which means once a show is booked, my job is to help get people in the room. I oversee digital advertising, social media, email marketing, radio promotion, local partnerships, giveaways, paid campaigns, and more for 300+ shows a year. It’s overwhelming and stressful and also incredibly rewarding and fun.

We are an independent venue at our CORE, which means there’s not really a “that’s not my job” mentality here; everybody wears lots of hats. While I oversee marketing, my day-to-day also includes advancing artist hospitality, sourcing local merch vendors, and can involve things like helping with deliveries or bar inventory too if needed.

I work with an office full of women at the Troub! An incredibly smart and badass team of women who I couldn’t do any of it without. Live music only works because every single person shows up and does their part, and I’m grateful to work somewhere that values that with a team of people who respect + help each other, and honored to do it all for such a historic room.

I actually attribute a lot of my success to being really, really stubborn! I’m a Taurus, so once I decide something it’s hard to talk me out of it. Even when this industry tried to knock me down (a few times) I always just kept going; learning, building relationships, and trusting myself + my abilities.

My stepdad loves to tell me I have “the gift of gab” which is a cute way of saying I can talk to pretty much anyone. But in a relationship-driven (and very small) industry, it’s kinddd of invaluable! Many of the relationships I’ve built started with meeting strangers at shows, events, or in passing, who later became friends, collaborators, partners, or mentors. Being kind, curious, reliable, and genuinely interested in people goes a long way. I also work really hard! Very important.

Advice: Be delusional about your potential (don’t shrink yourself just to stay in the room; you can be grateful and still have boundaries/know your worth). Be kind always (just try not to be an asshole; leave your ego at home). Work hard (at every single task, even the not-so-glamorous ones). Go to the show! & the rest you figure out :)

Sarah Styles

When I was younger, I used to tell myself I was going to grow up to be one of those women who did everything. Not famous for one thing, just deeply good at many. I didn’t have the language for it then, but I was chasing the idea of being a modern Renaissance woman.

In middle school, that meant 5 a.m. swim practices with pool lights flickering against dark windows. Chlorine that never left my hair. Piano scales until my wrists were sore. Textbooks stacked on practice benches. Flashcards during holiday breaks. I was a scholar, a swimmer, a classically trained musician. And somehow I still felt like I had to prove I could be more.

I was protective of every version of myself. If I skipped a practice, didn’t audition, or got one bad grade, it felt like the entire structure might collapse. My identity felt like something I had to hold together constantly.

Then I turned sixteen.

That summer, I went to Global Citizen’s Thank You Fest. I almost didn’t go. Social anxiety. Parents’ permission. Finances. But I went. And I remember the first bass drop more clearly than any race I ever swam.

The sound wasn’t just loud. It was physical. It hit my chest and sat there. Thousands of people sweating, shouting lyrics they barely knew. Strangers with glitter on their faces hugging like they’d grown up together. It was chaotic and overwhelming. But it was also the first time I saw a space where no one seemed forced to choose one version of themselves. Athletes danced next to artists. Corporate interns next to college kids. For a few minutes at a time, everyone moved in sync.

It felt ancient and futuristic at once.

I didn’t leave thinking, I want to be on stage. I left thinking, I want to understand how this happens.

Back home in the DMV, I started asking about local promoters. I sent awkward DMs. I offered to help for free. Eventually, someone handed me a stack of flyers and said, “If you’re serious, start here.”

So I did.

I handed flyers around neighborhoods long after events ended. Answered 2 a.m. messages about set times. Showed up early for soundcheck and stayed late for breakdown, watching tangled cables and exhausted crew members reset the room. It wasn’t glamorous. No one clapped for it. But I loved it.

Because I had felt what the final product could do.

Over time, I was trusted with more. The artist runs. Green rooms. Coordinating street teams. Handling small crises before they became big ones. I learned that the magic people see from the crowd only works because of invisible choreography backstage. Radios crackling. Last minute changes. Quiet problem solving that keeps everything afloat.

As events scaled, so did my responsibility. Permits. Security plans. Production meetings. The chaos behind the curtain. I wasn’t just attending culture anymore. I was helping build it.

But the deeper I went, the more complicated it became. I saw the parts people don’t post about. Substance abuse that wasn’t glamorous. Harassment brushed off as normal. Young creatives overworked because they were “lucky to be there.” The sanctuary had cracks.

That disillusionment hit hard. I had built part of my identity around this world.

Growing up navigating ongoing physical and emotional abuse, safety wasn’t something I assumed. It was something I searched for. Most of the time, it didn’t exist at home. So I built it in small, quiet ways. Rooms I hoped others could exhale in.

That’s why festivals meant so much to me. They felt like places where people could be loud or soft or messy without being punished for it.
When I saw harm inside the industry, it wasn’t abstract. It was personal. I know what unsafe spaces do to people. I know how long they echo.

Creating intentional environments stopped being just professional. It became personal. Every backstage protocol. Every boundary was enforced. Every young person is protected. That isn’t policy to me. It’s a choice I make over and over again to build the kind of space I once needed. And I’m still learning to offer myself that same protection.

That’s where Background Noise began.

At first, it was just a name in my Notes app. Then a promotion company. Then a bigger vision: promoter, record label, international booking and management agency, blog. I kept thinking about the people who make moments possible but rarely touch the spotlight. Flow performers. Journalists. Coordinators. Vendors. The artists with under a thousand followers uploading to SoundCloud at midnight.

The background.

I wanted to build something that acknowledged them. That treated artistry and integrity as partners, not opposites. Background Noise became the place where all my identities could coexist.

The discipline from swimming.
The ear for harmony from music.
The analytical thinking from school.
The emotional intelligence from navigating hard rooms.

I didn’t have to choose anymore. I could be a strategist and creative. Protector and producer. Detail oriented and big picture driven. Every flyer I passed out. Every late night airport runs. Every problem was solved while the crowd danced unaware. It all counted.

I’m still that swimmer who understands focus.
Still that musician listening for harmony.
Still that student who wants to understand systems from the inside out.

The only difference now is scale.

Even though I’ve transitioned from founder back into freelance work, the vision hasn’t changed. The rooms are bigger. The stakes are higher. The collaborations stretch globally.

More than ten years later, I’m still here. Bruised. Seasoned. Still building.

Advice: “Made with Love” is a tattoo I recently got as a reminder … in an industry that can harden you, don’t. Remember who you were before the noise. Protect the love that made you start. Let it fuel you first, and from there, let it move everything else.