Despite growing conversations around accessibility, much of the music industry still operates at the level of compliance rather than experience, meeting basic requirements without fully considering what it actually means for fans to participate in real time.

Carly Webster has been working to change that — both as a fan and as an emerging professional across the music industry, with experience spanning organizations like HeadCount and Wasserman Music.

At 15, she founded Disabled Music Fans Collective after noticing a lack of representation for disabled fans across music spaces. What began as a fan-led effort has since evolved into advocacy work, alongside her growing experience across the music industry and live events.

Below, Carly reflects on where the industry is making progress, where it continues to fall short, and how fans themselves can play a role in building more accessible, intentional communities.

You started Disabled Music Fans Collective when you were just 15. What were you noticing in fandom spaces at that time that others seemed to overlook, and what made you decide to actually build something instead of just talk about it?

At that time, I would say it was the peak of my fandom activity, and I was noticing a lot of fan projects and initiatives popping up for LGBTQ+ fans, fans of the global majority and things like that. I thought that was great, but when I really dug in, I didn’t see anything for disabled fans.

My mindset was, yes, we have some regulations that make venues more accessible — but what about fans who, for medical, geographical, or financial reasons, might never be able to make it to a gig?

Especially after the pandemic, there was a bigger opportunity for artists to engage with fans in ways that were not only virtual, but actually accessible. And we’re still seeing artists miss the mark in terms of not using captions on videos, not including image descriptions, and now that we're out of COVID restrictions in a lot of places, we of course no longer really have virtual concerts.

So I kept coming back to the idea that we need more representation and a spotlight on this. I had spoken up about it before, but I realized we needed a bigger foundation behind it. I started doing more unofficial fan initiatives, and then once I graduated high school and started doing stuff in the industry, I saw that while people would support the idea, there wasn’t a real path for action or funding unless we had the nonprofit status, so that’s what I did in 2024.

It’s kind of been hard to play that role as a college student as well, but at least I overcame that hurdle, and post-grad I want to put more time and energy into it, because it is something the industry is still really missing.

At what point did you realize it wasn’t just a fan project, and what did that moment teach you about what fans are capable of building?

I think one of the biggest turning points for me was doing a TED Talk in 2023 about fandom. The mentors and folks helping me prepare it really encouraged me to explain everything in very simple, ‘non-fan’ terms — no jargon, because nobody was going to understand it.

That experience gave me a chance to talk about fandom in a way that wasn’t immediately dismissed. Growing up, I talked about it all the time and wore merch and was always kind of the butt of the joke, because female fans aren’t taken seriously. So being able to say, ‘Hey, this is more than just people tweeting all day, we’re literally able to do so much,” I think I really appreciated that. We're not just hysterics here, we're we're trying to do something.

Especially during the pandemic, we saw that even more clearly. Fans were coming together to raise money, share resources, and support each other in real ways. It showed me that fandom has real power and impact.

Since I’ve graduated high school and done stuff in the industry, I’ve reconnected with a lot of the people that I was in those fan communities with, and there’s more of us trying to do this industry stuff than I ever could have imagined. Now years later, I really root for those peers so much because I know they're trying to accomplish similar things and make sure that fandom stays alive. And that's really all I could ask for.

Fan spaces — both online and offline — often describe themselves as inclusive, and venues often meet the legal minimum. But from your experience, what’s the gap between good intention and actually creating spaces that feel accessible?

I think, and a lot of disabled folks might echo this, spaces are focused on checking boxes rather than humanizing the experience.

It’s very much like, okay, we have to meet these requirements — doorways have to be a certain size, things like that — and that’s all good and great if we can get in the place. But what is the experience we’re walking away with once we’re done with the show?

I had an experience recently where I was attending a show. I hadn’t been to this venue in years and had always had a really great experience. This time, I decided to request the ADA platform because I wasn’t really feeling the pit.

It’s a completely flat platform, slightly raised above the crowd, with chairs. A staff member told me to sit down because I was blocking people behind me, even though no one had actually said anything. After the staff member left, I asked the people behind me if everything was okay, and they said I was fine.

But I was still told that if I wanted to stand, I needed to go to the back, and in a sold-out show, there really wasn’t anywhere to go. That left a sour taste, because it’s one thing to adjust things so everyone can have a good experience, and another to tell a disabled person what they should or shouldn’t do with their body.

And that’s just one experience — most of mine have been really good. But when we focus on checking boxes instead of looking at the guest as a whole person, we miss a lot. Disabled fans are putting in time, money, and energy to be there — sometimes bringing additional support with them — and that’s not going to be one-size-fits-all.

I also saw a different approach when I worked a festival this past summer with an accessibility team that focused on finding the best possible solution in the moment. They emphasized things like harm reduction and being sensory-friendly, and actually having conversations with people instead of shutting things down.

So it’s less about checking boxes and more about asking, what can we do as a team, as a staff, as a community, to make this the best possible experience for everyone?

From what you’ve seen, where is the industry genuinely improving when it comes to accessibility, and where is there still work to be done?

I think the industry is doing really well at recognizing the philanthropic and social impact side of things, whether that’s through tours, merch campaigns, or other initiatives. I love that there’s more of that happening.

But at the same time, we’re kind of missing the point, we’re missing the human experience. I love working with social impact partnerships where I can, but there’s still so much to be done in understanding that accessibility is more than just boxes to check. It has to be a holistic commitment and support for people who are giving their time, money, and energy to these artists.

I would say there’s always a dynamic where bigger companies are going to have a more resources to put into accessibility than a really small venue, and that’s totally understandable. I try to hold space for that.

But there’s a difference between using the resources you have to do the best you can in that moment and just completely not doing anything. And I’m not saying that’s the case for every venue, but when larger companies oversee a lot of venues, it can end up being applied inconsistently — which is something I think is trying to be worked on more.

Advocacy often means educating people repeatedly. What has building and sustaining this work required from you, and how have you learned to protect your energy in the process?

It’s still something that I’m working on, especially as a young professional and someone early in my career. I’ve had to learn to kind of toe the line between, like, okay — can I tell them the cold, hard facts they’re going to understand, or am I bringing too much emotion into it?

And I never want to police how people react, but sometimes I’m like, girl… you should not be yelling and screaming. Not that I’ve done that, but I’ve definitely sent emails where I felt like I came across a little harsh. But at the same time, I’m constantly having to educate people and say the same things, and it’s very tiring.

It requires — and I hate to say it — bureaucracy. Working with red tape is sometimes just part of it. But I’ve also learned how to request meetings and have conversations that don’t feel one-sided.

And a big part of it is picking and choosing my battles. There have been opportunities that were completely inaccessible to me — like not being able to relocate for an internship because of accessible housing, or not knowing if a workspace would actually meet my needs.

There’s also this general rule is to not disclose until you have an offer, but if you disclose after accepting and it doesn’t work out, you’ve kind of lost the chance either way. So it becomes personal advocacy too.

And sometimes, it’s just not worth it. I’ve had several situations where I bring up the same issues to the same people and nothing changes year to year. At that point, I’m like — you know what, not my problem. I’m doing my part by educating and putting in emotional labor that I shouldn’t have to, and what they do with that is up to them.

So especially post-grad, I’m trying to focus on what feels good and protect my mental health, because if I don’t, I can’t keep doing this work. And no one else can be me for me.

I never want to represent the entire disability community, but I also know there are very few people doing this kind of work in the fan space. There are organizations on the artist and industry side, but where is the support for people in the audience So it’s a balance. Sometimes I’m afraid to speak out, and sometimes I’m mad at myself if I don’t. But I’ve had to internalize that if someone responds poorly to a genuine issue, that’s probably not a space I want to be in.

I want to be somewhere that recognizes my work while also supporting what I need to succeed.

For fans who care about accessibility but don’t know where to start, what’s a small but meaningful action they can take?

I would say really follow and pay attention to disabled creators and disabled fans. Even if they’re not talking about concert-specific things every day, there’s still so much to learn from their lived experiences.

Also I think a great way to educate yourself is to look at accessibility standards — not only digitally, but also in your local community. If you live somewhere like Atlanta, look at venues there and see if they meet basic requirements. When you go to a show, go with a friend and kind of audit it — take a look at things, write down what you notice, text a friend. Just keep an eye on things.

You don’t necessarily have to do what I do and call everything out, but that sharing of information is such a key part of fandom, and we should use that to our advantage in holding venues and the industry accountable.

Because there are always going to be younger fans coming up who are still engaging with fandom, and I don’t want them to feel unseen or excluded because things aren’t accessible.

We’ve had so much time, and accessibility was never meant to be the ceiling. As fans, we really have to take charge of that — because we deserve better for our time, our money, and our energy, and we contribute so much to this industry.

What are you a fan of right now?

I’m really loving the revival of certain styles of music and seeing artists come back in new ways. Like, Hilary Duff is about to go on tour — I wasn’t really old enough to grow up with her music, but I’m like, okay, cool. Good for the millennials.

And then Zayn going on his solo tour. One of my first fandoms was One Direction, so seeing him get to a place where he can say, like, ‘I’m ready to do this,’ that takes a lot of guts. Especially considering everything he’s been through. I’m very proud to see him doing that, and I can only wish him nothing but the best.

I also really love seeing artists speak up about things they care about, especially right now. I started a playlist called ‘Revolution’ because a lot of recent songs feel like they’re about holding people accountable and pushing for a better world.

For years, fan-made merch has existed in a cultural gray area — celebrated within fan communities while raising questions about intellectual property, artist control, and how creators should be compensated.

Platforms like Softside are now exploring what it looks like when fan creativity is officially brought inside the system.

Founded by former touring and A&R professional Erin Singleton, Softside is a creator platform that enables fans to collaborate directly with music artists on officially licensed merchandise. Working with artists including Geese, Black Country, New Road, and August Ponthier, the platform supports the full process, including design collaboration, licensing approvals, production, fulfillment, e-commerce management, and revenue sharing.

Below, Erin reflects on building business models rooted in fandom, how fan creativity is reshaping traditional merch pipelines, and how co-creation may define the next phase of audience engagement in music.

For anyone new to your work, how would you describe Softside and what you’re building?

Softside is a creator platform for licensed, fan-designed merch. Everything we do is fan-designed and artist approved. Artists work with their fans on merchandise, and then we take care of all of the logistics on the back end. We handle the production, fulfillment, licensing, revenue sharing, and the overall co-creation process.

When you were digging into fan art and merch during the pandemic, what was the moment you realized this wasn’t just a messy gray area — but an ongoing problem in the industry that needed a real solution?

I think it was when I started seeing our own clients’ work. It's one thing to notice it as an outsider fan who just likes fan art in general. But once I actually started seeing fan art and fan merch directly related to some of the artists that I was working with at the talent agency, it was really an eye opener.

We were working on the live tours of maybe 75+ artists, and I was seeing their fans on TikTok, Etsy, and other social media marketplaces making merch for them — especially with the rise of print-on-demand technology. That was the moment I realized there was so much out there directly impacting my clients’ IP and their merch businesses.

And once you start digging and go down that rabbit hole, the floodgates open. You realize how much this impacts other artists as well.

You started as a fan, then worked inside touring and talent agencies, and now you’re building Softside. Looking back, what do you think fans actually understand better about the industry than people give them credit for?

I think fans are just way deeper in the weeds. There’s obviously a lot of really great technologies and platforms out there now that are trying to go deeper and understand things at a more incremental level. But fans are already there. They’re in the different subchannels and Discords and Reddit threads, talking to each other. They have their own inside jokes and their own fan theories about new music hints. They’re living that community rather than observing it.

So for those reasons, I think they understand — beyond merch — the types of experiences and fan-to-fan and fan-to-artist relationships they want to be having, or are already having but maybe aren’t being noticed enough. There’s a lot to learn from fans because they’re doing what they do best. They’re listening, hanging out together, and building community in a very organic sense.

Having spent so much time in fandom spaces, what did you want to make sure wasn’t lost when you turned that experience into a business?

I think it was trying to meet fans where they already were in terms of how they create. For example, when I was first figuring out what Softside would look like — and it was a very rudimentary platform on Shopify with no real tech behind it — something I was reading a lot and hearing from fans was that they already had these beautiful works and portfolios ready for potential collaboration.

Not every fan wants to participate in a design contest, because that requires creating something from scratch. That can take hours or even days, and then it might not get selected.

So to meet fans where they already were, we recognized that they had already created really beautiful work, and that should be enough to be considered for collaboration with music artists. If they’re approved, they can then start creating something in a similar style to their portfolio but aligned with the specific project the artist has coming up.

That was really important to us early on — making sure fans felt respected in the creative process, because they’re creatives in addition to being fans.

Softside might sound like an open marketplace from the outside, but in practice it’s clearly curated and structured. How did you think about designing a system that allows fans to participate meaningfully — while still respecting IP, artist control, and why not everything can be approved?

I think when you’re trying to build any two-sided marketplace, you need to think about what factors are most important to those two parties. For fans, it was having collaboration options — either being able to submit a portfolio or create original ideas if they do have original designs ready.

For music artists, it was about being able to control what designs are actually going out, because it’s a reflection of their name, likeness, and their business. They didn’t want anything listed in a free-for-all marketplace. They want to be able to curate themselves.

This is a system that works for us right now, but we do see a lot of potential in that evolving — whether fan attitudes shift or music artists become more open to having anything go, as long as the content is appropriate.

There are different ways I can see this developing as our technology improves and as more people adopt the system and understand what it’s about.

What’s been the biggest lesson from building Softside so far?

I think fans are capable of way more than some music artists might initially expect. It’s not that artists look down on their fans or don’t have confidence in them. It’s just such a new way of creating merch designs that sometimes artists go into it pretty blind, not knowing what’s actually going to come out of the process.

As a result, we’ve moved forward with some designs that look very different from the merch they’ve done in the past. It might be a hand-drawn or hand-painted illustration that looks totally different from a more cookie-cutter design or simple logo they’ve used before.

The biggest lesson has really been to trust that process. We’ve seen some of the most experimental designs receive the most positive reactions from fans, and sales have been strong. It’s about trusting the different creative visions people bring. It can really surprise you.

What do you hope changes about how the industry works with fans over the next few years?

I think just fairness in general. We try really hard to find every possible angle to make a collaboration feel like a true, fair partnership between both the music artists and the creator. For example, we have a royalty system where fans participate in the royalties of each sale.

Some music artists have also paid flat fees on top of that, but at a minimum, we try really hard to make sure that’s maintained in every partnership, with a few exceptions. My goal would be for that to become more of a norm. I think music artists are perhaps more used to just paying a $500 flat fee to a fan. They take the design on the road and can see thousands of units sold without any royalty participation for the designer.

So I think that basic level of fairness will ultimately create a more positive, creative collaboration process for both the music artists and the fan.

For fans who want to turn their passion into something real — whether that’s a business or a career — what’s one thing you wish you’d understood earlier?

I think a lot of the concept of the word Softside came from inviting fans to tap into their soft side — their vulnerable side. Creating art in general is a very personal experience, and some people are not used to putting it out there, let alone maybe having it transform into merchandise. I think it’s a new process for both fans and music artists.

So my advice would be to be more comfortable with discomfort when putting yourself out there, because you never know who’s watching. Doing something even if it doesn’t get likes or sales — setting a personal challenge to post new fan art every day on Instagram, even without a following. However that looks for you, even beyond fan art, I think challenging yourself to do something a little uncomfortable and being confident about it is really important for growing your skills, networking, and finding your audience.

What are you a fan of right now? Any campaigns, shows, moments, or trends that have been living in your head lately?

In terms of music, I’ve been listening to Not for Radio’s new album a lot. It’s a solo project from Maria of The Marías, and the album is beautiful. I’ve been loving it. I’ve also been listening to one of our new artist partners, Racing Mount Pleasant. They opened for Geese this past fall, and I’ve been listening to their album a ton lately. I think it’s awesome and really well done.

In terms of TV, I don’t watch a ton. Lately I’ve been getting into longer documentaries. I like shows that feel contained, like a docuseries with a clear timeline that I can watch and move on from. If something has too many seasons, I probably won’t stick with it.

These accounts do more than post concert videos or artist updates. They organize communities, track tour information, interpret announcements, and help fans navigate the increasingly complex world of live music. In many ways, they function as informal media outlets built from within fandom itself.

Haley Hart is part of that growing ecosystem. She co-runs @theconcertbesties, a music and concert culture account that has rapidly grown into a global fan community with more than 22,500 followers across Instagram and TikTok spanning multiple artist fandoms. Over the past year, the platform has reached millions of viewers by sharing concert videos, tour updates, and fan-focused content.

When Harry Styles announced his 2026 return and upcoming tour, Hart’s account quickly became a gathering point for fans following the rollout in real time. The moment also led her to help launch a fan-led global ticket matchmaking initiative, connecting fans buying and selling tickets across the tour. For Hart, the experience reflects her belief that the music industry runs on the communities fans build around artists.

Below, she discusses building fan-first media spaces, navigating the responsibilities of running a fast-growing platform, and why fan communities are increasingly shaping the music industry.

Your platform sits at the intersection of fan, media outlet, and community organizer. How would you describe what you actually do?

I think the best way to describe it is that it’s by fans, for fans, which has always been the perspective I’ve wanted the account to have. I feel like there are so many people in our generation who want to be influencers and content creators, especially within the music industry. It’s almost become a cliché thing that a lot of girls in their twenties are trying to do. But I think it’s so important to not only have a platform where you post fun content and engaging things, but to really build community. As a fan myself, experiencing the same things that I’m pushing out to my followers firsthand is really important, and it honestly makes it so easy to do what I do, so I always want to keep that fan-first perspective as the focus of the account.

I think it’s a special community-building space where we literally have fans from all over the world. It’s not just based in the United States. A couple weeks ago I did a livestream and people were joining from the Netherlands, Portugal, and so many fun and cool locations. It made me realize that the community is not just something you can get at concerts or events. It's something that's digital, and it spans across the globe, which I think is so special.

When Harry Styles announced his tour, your account essentially became an information hub in real time. What were you seeing that made you realize fans needed structure along with their excitement?

I’ve been a Harry Styles fan for about 10 years, so I am very involved in his fandom. During the Love on Tour era a few years ago, I relied on so many update accounts, so I honestly have learned so much seeing how those fun and practical resources impact fans and the whole rollout period.

For me, I just started posting stories saying things like, “Oh my gosh, this is cryptic. I don’t know what this means.” But then it turned into more of a conversation. People were messaging me in DMs, commenting, and I started going live to talk through all these things that were happening.

It shifted from just posting updates to saying, “Let’s go through this together.” I think it’s so cool that Harry’s whole slogan this era is “together, together,” because I feel like that’s what my account has turned into—a “together, together” moment where I’ve seen fans come together from all over the world to talk about these cryptic things. Like, “Oh my gosh, Harry has the clock moving to 9 p.m.—what does that mean? What is happening?”

I've also connected with a lot of larger accounts directly affiliated with his team on Twitter, so I was able to take information and directly push it out to my followers too. So it wasn’t just all these cryptic things. I can go back now and say, “Wow, I was right about a lot of these things,” or things that I predicted, which is so cool.

It created a special connection between me and the people who were also hyped about everything happening, and it also became a resource where people trusted what I was saying. A lot of things were correct because of how the rollout was happening, and I had the resources to push that information out to other fans.

I also think it’s beautiful to see the connection I’ve had with other accounts doing this, because I was once in their place. I was relying on big accounts like HSD and HarryFlorals to push out information that I was sitting there waiting for. Seeing those resources made me say, “I want to be that for other fans too.” I think it turned out really cool, and I loved it.

You launched a global ticket matchmaking system within hours. What did building that reveal to you about the gaps fans experience — and what fan-led solutions can do differently?

Fans are ultimately the music industry. The music industry is genuinely made up of fans, and really the product of any artist—promotion, music, touring—is for the fans themselves.

So I think fans saw that there was a problem, and I saw that too. You’re saying this tour is coded with the word “together,” and you want fans to come together and have a special experience between your favorite artist and the fans who love the music. But I saw that wasn’t accessible right now, and that’s really hard—not just in Harry’s fandom, but across fandoms. There are so many tours where music is becoming inaccessible, which isn’t the point of what music is supposed to be. It’s stepping away from people and becoming more about profit, which is a bummer.

So I said, you know what, I’m going to step up and say, if bigger organizations aren’t going to do something about this, then let’s try to. I connected with Ticketmaster, SeatGeek, StubHub, and Live Nation and asked, “How can we work together to get real fans tickets and make this more accessible again?”

But when those conversations kind of fell through, I said, well, let me take it into my own hands. I asked some friends, “Would this be crazy if I did this?” And they were like, “How can we help you?” It wasn’t, “No.” It was, “Let’s do it together.”

I have six of my amazing friends—many of them college students from all over the country—who came together to say: we’re the fans taking this into our own hands. We’re saying, we want this not just for ourselves. For me, I also wanted tickets to Harry’s tour, but I said honestly I care about so many other people getting tickets and being able to experience the music that was created for the fans.

Harry especially has talked about how he wants his album and his tour to feel like fans are all together in a concert pit, and I thought, well, let’s make that happen.

The ticket box has been such a cool community starter. Not only have my friends and I been on FaceTime for like six hours every night, going through and manually doing all these things, but it’s also become a community-building moment.

I get so many messages, and so many people have connected with me about how even just the effort and initiative has been really inspiring. It’s encouraged them to see how fans can take initiative to make change. I feel like that’s an incredible end goal for me, and I love it. It’s just been such a privilege to do it.

You’ve worked with brands like Ticketmaster and SeatGeek, but you’ve also stepped in where fans felt unsupported. How do you navigate being both a brand partner and a fan advocate?

I think the first thing is that a lot of these ticket platforms have reached out to me after seeing what I’m doing, because they recognize that I’m trying to be a resource. They’ll say, “Hey, let’s work together in this way,” and I really appreciate that.

I honestly don’t want to despise those relationships because, at the end of the day, it’s a systemic problem — not a people problem. The people who work at Ticketmaster and these large organizations are not really the problem. If I can connect with them to make things happen and be a resource to help people, I want to build those relationships.

It’s about being able to go to them and say, “Hey, listen, here’s a problem that my followers are talking about. How can I work with you on a bigger scale to address it?” I’m in conversations with Ticketmaster and SeatGeek a lot about those ticket questions currently.

For me, I want to have those relationships, but at the same time, keep it at a point where it’s like, “Hey, you guys also have an opportunity here.” You have more power in your hands than I have in mine. I can do a little bit, and I can do the work myself to manually make a small impact. But building together with those brands—even though they are at the root of the problem—means you can turn those systemic problems around.

They have stepped up to be in contact, and they’re encouraged by the initiatives I’ve been doing, as well as trying to help in the best way they can. I know they also have a lot of limitations, but working with them has been a privilege.

I’m hoping that on a bigger scale, through these conversations, we can make things happen so there isn’t as much of a discrepancy between ticket organizations and fans. Even them wanting to connect, be resources, and do what they can through creators is really encouraging about where we’re headed down the line.

You’ve grown quickly during major pop culture moments. How do you make sure growth doesn’t come at the expense of the fun and relational energy that made it grow in the first place?

I think the growth honestly comes so quickly, to the point where I’m like, oh my gosh, this is just insane. Even from the beginning of December to now, we have almost 10,000 followers on Instagram alone.

I think it’s honestly just the genuine, authentic content. I never want to step away from that. You can have all this polished, brand-focused content where brands are saying, “Hey, can you make this video? Do this video.” But at the heart of it, I always want to stay true to my vision of making it a fan-first, UGC-type account.

I don’t want to sacrifice that by becoming an influencer or becoming this person who cares so much about the growth and impressions. I mean, I do care about those things, but ultimately my followers are at the center of everything I do. I’m not creating for myself. I’m not creating to get noticed by brands or to have all these artist partnerships. I’m creating for the people first.

For me, I was just in a conversation with someone pretty prominent in the industry yesterday about this, and I said that’s where my heart is, and I don’t ever want that to shift. Everyone can promote themselves, everyone can promote and ask for tickets, but at the end of the day, your growth is going to be determined by your purpose. People see the authenticity of your account, and they’re going to want to follow along with that.

We need more of that today, especially in the fan space. I think it’s beautiful to see that fans who don’t have hundreds of thousands or millions of followers still have a voice. They still have an opportunity to do things and make an impact. I think it’s such a special place to be, for sure.

You work in social media professionally during the day and build fan infrastructure at night. What’s one lesson from running your own platform that you couldn’t have learned inside a corporate role?

I think it’s about realizing how much creativity can dictate your success. A lot of times in corporate jobs—especially in social media—things are so tightly controlled that you almost can’t be creative if other people don’t understand it or if it doesn’t fit within the company’s approval process.

A lot of executives are in their 40s or 50s and don’t always understand the things that 20- or 30-year-old fans might understand, so you lose a little bit of that creativity. That said, there are a lot of major music companies that allow creators and social media people to go fully rogue and do amazing things.

But for me, this experience showed that I have the power to make an impact through the content that I create. I don’t feel like I’m in a box. I don’t feel like I have a checklist of things I have to do. If I see something other fans like or something that matters to people, I’m going to hop on that and do it without restraint.

I think it’s beautiful because I’ve never had that before. I’ve never had a platform where I’m genuinely running it and making all the decisions, so that’s the biggest difference I’ve seen.

It’s also very different seeing how a corporate music industry role compares to something that’s fan-focused. You can be more fun. You can be more off the rails. Some of the content I post is very niche, and I’m like, “The girlies might get this. The girlies might not get it.” That’s the kind of thing you can’t always do in a professional setting.

But I think it’s beautiful because now I see the impact I can make as someone who isn’t doing this professionally. It makes me feel like if I go into a professional role, I can say, “Hey, I think we should switch this up,” or change the system a little bit so we bring in a fan-first, authentic perspective.

Ultimately, with social media in the professional industry, everything is for the fans. You can market, make money, and do the sales, but at the end of the day, who is the audience? Who are you doing it for? It’s the fans. I think that’s what I’ve learned the most.

You’ve said fans understand the industry deeply. What role do you think fan creators are going to play in shaping the music industry over the next few years?

I think a lot of fans want to follow accounts they feel the most connected to. You can follow an HQ account, an artist account, or the big-name labels and larger accounts, but at the end of the day those don’t always feel as personal. Not saying all of them don’t, but a lot of the time they’re focused more on a specific goal or reach. They’re trying to market or promote something.

I think fans are much more focused on connection. It’s not just, “I’m following this to get information or be sold something.” It’s, “I want to connect. I want to build community. I want to see people in this space who care about the things I care about.”

Even recently, I’ve been trying to expand beyond music into film, television, books, and other things. I want to show that I’m not just in one niche. I want to show that I care about the things people on the internet also care about.

It’s kind of beautiful to be in your twenties and feel like you’re chronically online and connecting with people that way. I also think it’s a great perspective to bring into the industry. When you’re making those connections and working with brands and labels, you can bring that ideation and that flair into those spaces and say, “Hey, this is what works to directly reach fans. This is how you connect with fans.”

Honestly, it makes such a difference, because there are a lot of bigger labels that do care about fan focus and are moving more in that direction. You even see big artists at concerts bringing in fans to do interviews or bringing in fans to showcase the experience, and I think that’s such a cool perspective.

We need more of that—not just through me and not just because I want to do it, but because there are so many fans out there who bring really cool ideas to the table and are creative in so many different ways.

I think intertwining that with the professional industry is something I’m really hoping to see more of in the future. I definitely think we will, because it’s becoming more and more apparent that fans are very involved in the industry. I’m really excited to see how things grow and change.

What are you a fan of right now?

Okay, I’m going to be very relevant to the last week. I’m a fan of Charli XCX’s Wuthering Heights album. I think it’s so well done. I’m a Brat truther until the day I die. But I think this new era of Charli stepping into this new musical genre—and the soundtrack—is just so beautiful. I think it’s one of her best eras. I know that’s a hot take, but I’m just so impressed by it, so that’s been on the aux recently. We’re about two weeks away from Harry’s album, so obviously I’m a fan of that too.

But I would say most recently it’s been Charli’s Wuthering Heights album and the movie. It flowed so beautifully. It just really made sense. I really appreciate her and her artistry and everything she’s doing within the music industry. I love it.

Editor’s note: This interview was conducted prior to the release of Harry Styles’ new album.

In an era where fandom is increasingly visible across media — from viral red carpet clips to personality-driven interviews — the expectations placed on music journalists are shifting. Yes, there’s a high focus emphasis on virality and enthusiasm. But the craft does still matter.

With more than a decade in music journalism, J’na Jefferson has built her career balancing cultural awareness with a deep respect for the artists she covers. Her work has appeared in Rolling Stone, Billboard, USA Today, MTV, and Harper’s Bazaar, and she has interviewed artists ranging from Ciara and Sting to Doechii and Tate McRae. Her reporting frequently situates music within larger conversations about race, gender, and identity. She has covered red carpets, contributed commentary to BBC platforms, and taught music reporting to students at the Craig Newmark Graduate School of Journalism.

Described as a “professional fan,” Jefferson sees no contradiction between loving music deeply and reporting on it seriously. For her, admiration is a starting point, not a substitute for discipline.

Below, she reflects on interviewing artists she admires, navigating gossip and virality culture, tracking cultural trends, and why keeping the craft first continues to define her work.

You’ve been described as a “professional fan” before. When you hear that, what does it mean to you, and do you think there’s any misconceptions about that?

I love being a professional fan because, above all, what I care about is music. I love being able to call myself a journalist, and I love the doors journalism has opened. But before any of that, I was someone who just loved music.

I don’t think I’ve ever run into misconceptions, but there’s definitely a time and place to flaunt excitement. Of course, not everyone is that deep in the weeds. So it’s about peppering in bits of information about the things I’ve learned and the things I know when I can in certain settings, but for the most part, just letting people learn on their own and putting them on if they ask. I guess the misconception would be that everyone who has a very strong interest in something could always be perceived as “holier than thou” when it comes to their interests. So definitely knowing when and where to flaunt it would probably be one of the things that we have to learn as people who are in our profession.

When you’re interviewing artists you genuinely admire, what helps you stay present and intentional in the moment?

I just have to tell myself, this is just a regular person with a cool job. I’ve been telling myself that since I first started.

I started at Vibe magazine, and my first big kid interview was 10 years ago this month, in 2016, with JoJo. I remember thinking, okay, this is going to be cool. Who doesn’t love JoJo? She’s such an inspiration. But she is just a regular person with a cool job. From that moment on, I was like, I will probably never feel starstruck again, because I know what I have to do. After all is said and done, I can be like, okay, I did it. But in the moment, you just talk to them like a normal person.

How would you say deep familiarity with an artist’s work and their world changes the kinds of questions you’re able to ask compared to someone coming in with less context?

I think it really all comes down to the research. I could have an interest in somebody, and then when I get deep in the weeds, realize I know a little bit more than I knew previously. And that can open up another group of questions that I might already have. Now that I know a little bit more, it's like, okay, this can lead me into other questions that I might be able to lead with or segue into.

I feel like a lot of people who may not have the acumen to be interviewing people with in-depth care and analysis might ask very surface-level questions. But I think that people who have a genuine interest in something, rather than someone who is just like, “I want to interview this person because they’re this person,” it opens up a very large portal to being like, okay, there are so many things that can be asked instead of just, “What inspired you for this?”

I encourage everyone who wants to go deeper with their interviewing skills or their journalism skills to really immerse themselves in an artist’s work. Go deeper than that. If there’s a question that you’re like, okay, I want to ask it, Google it. Has this question been asked before? If you can’t find it, I think that gives you pretty good leverage to really go deeper with these questions and just see how far you can take it — of course being really cognizant of certain topics or conversations or moments in their career and in their life that they might not want to tap into.

There’s often an expectation in music journalism to “dig deep” and get something revealing, especially in a landscape where fans feel very connected to artists. How do you balance respect for artists with the responsibility to still push for honesty and insight?

I think it’s because I know what kind of journalist I am, and I know what kind of journalist I’ve built myself up to be. Don’t get me wrong, I do love gossip. I’m trying to get better about being the one who gets it rather than being the one who puts it out. I don’t want to be the one who puts it out.

For instance, say you’re interviewing someone like Harry Styles. Liam Payne passed away almost a year and a half ago now, and that was a big topic among One Direction fans. So I think if I were to ask a question about Liam, I would have to be very, very careful about being like, “Oh, Harry Styles talks about Liam,” as opposed to being like, maybe he had a comment on it. I think people want to get the scoop. They want to be the first. But when it comes to certain topics, I wouldn’t be in a rush to ask about certain things, because when he goes on his press tour, he’s not going to answer questions about what’s going on with One Direction. He’s going to answer questions about his music.

Same thing with Ciara. I interviewed Ciara a couple of months ago, and I had seen a tweet where someone was just like, “See, this is actual journalism. You guys probably would have asked her about being a WAG.” And it’s like, that’s the last thing I think about when I think about Ciara, because she has this huge, long career. She just had an album that came out. She has all these songs coming out. Let’s focus on what’s actually happening.

You just have to recognize what is going to be worth it in the end. And you also want to make sure that your guest feels comfortable, because this is their whole career. They don’t want to talk about the things that are making headlines if it’s something that has nothing to do with the work that they’ve worked so hard to perfect and strengthen and grow and mold.

So I think that would probably be my advice: focus on the craft, and everything else — just leave that to the people who want that tea.

We’ve been seeing more virality-driven moments on red carpets—people chasing a clip, or letting personal fandom take over. What do you think professionalism should look like in those spaces, and what do these changes reveal about the culture right now?

I totally understand the changing landscape, because obviously if you have a following and brands are converting to TikTok, social media, television — these quick hits — they’re going to want someone who has personality.

Not a lot of people who are trained in journalism are going to be willing to be on TikTok or television. That’s just not what we were trained to do. So I understand the push for people who are a little bit more, I guess, palatable — people who already have a following and have people who are interested in what they have to say. But that does not translate into the actual craft of journalism. It takes time. There are people who fall into it and they're good at it, but then you see people who’ve practiced and studied — they are journalists down. You can tell the difference in the questions. They're a little bit more thorough. They're more thoughtful.

Seeing levels of unprofessionalism from certain influencers who have this kind of access does strike a sour chord, because there are people who do this really well and aren’t being given the chance.

I think it was last year or two years ago — there was a red carpet reporter interviewing Megan Thee Stallion and she said, “Every time I hear your music, I just want to beat someone up and fight.” Megan’s whole brand is empowerment, strength, sexuality, being proud of the skin you’re in. She’s never had a song about wanting to beat women up and fight, especially as an abuse victim. That’s the kind of nuance that’s not being captured that makes it all the more obvious. And that’s why a push for having real journalists back in these spaces is imperative.

We’re in a time where a lot of things get misconstrued. Someone can say one thing and it can start a complete firestorm. So being able to recognize nuance and remembering that we are literally on the carpet to do our job — of course it’s a fun job, but it’s still a job — matters.

That’s also what being a professional fangirl is about. I wouldn’t say I get starstruck, but there is a certain level of respect I have for every person I’ve interviewed. I’m not going to say, “Can I take a picture with you?” Unless I cannot pass up this opportunity. But that is after I do the interview, I'm like, okay, I've interviewed this person. They have a little time left in their schedule. Can we take a cute pic? And that's it.

I’m not going to ask them to sign something. For me, the souvenir is the fact that I got to interview someone whose work has touched me and other people. That’s my souvenir. I don’t need a memento. My memento is the work I’ve produced. The fluttery feeling in my heart that I’m still doing something I really like to do. That I got to speak to Ciara. I got to speak to Chance the Rapper. Like there are these people who I'm like, I've been looking up to for so long. I love what they do. I respect their craft, and I can speak to them. That’s enough for me.

You’ve interviewed artists at different stages of their careers. What practices or habits keep you plugged into trends in a way that helps you recognize when an artist, sound, or moment is on the verge of breaking?

I think just being such a consumer of music for all of this time, I’ve seen how things ebb and flow.

Right now, the Y2K trend is really big. Someone told me a long time ago, every 20 years, it all comes back around. So we’re in that moment now. 2006 was 20 years ago. I wouldn’t be surprised if some sort of snap sound came back — not “lean wit it, rock wit it,” but that kind of vibe bubbling back up. The need for nostalgia is so strong.

At the same time, we’re getting people trying to reinvent their own wheel, taking what they’ve done and amplifying it. This is why I really wish MTV and VH1 were still a thing. The pop culture education has kind of been wiped out, but there are so many moments where someone does something and I’m like, that’s a direct callback to this. A couple years ago at the VMAs, Tate McRae wore this very lacy number, and I was like, that’s Britney Spears at the VMAs. And people were like, what? And I’m like, everything old is new again.

If we keep that mindset — that everything is a reinvention of the wheel — it helps you figure out what trends are going on.

The last two or three years, pop is having its moment. I think R&B has always had a moment, but people overlook it because it’s not as energetic as pop or not as bold as hip-hop. It’s always just been in its lane. Hip-hop is going to fall back and then come back again. I just don’t think it’s right now. I also think people are yearning for what feels real. What’s going on in the country doesn’t always reflect what hip-hop is trying to promote — money, cars, all of that — and that’s not necessarily what people are soaking in right now. So things are going to change again. There’s going to be a lot of breaking down and building back up.

History definitely kind of repeats itself.

You also write about music in the context of race, gender, sexuality, and identity. How does paying attention to those bigger cultural conversations shape the way you report and tell stories?

I think before anything, obviously, I am a Black woman. We are taught from a very, very young age, this is you, this is the world. You might not get everything that you want, but that doesn’t mean you stop being who you are.

My mom was very big on making sure my sister and I were deep in our communities and educated about what’s going on in the world — and what’s going on in our own communities, whether that’s within our demographic, people our age, within our race and our background.

So I don’t know what other way I would write if I wasn’t writing about what’s actually happening.

When I first started in journalism — and I’ve grown a lot — I definitely just wanted to talk to the cool people. I was like, I want to talk to this person because they’re big. I want to talk to that person because they’re trending. But I think it was honestly the election of 2016 that made me recognize I could do more with the gift I have as a writer, and with my experiences growing up, to make a difference.

I don’t want it to just be, “Oh, I wrote this thing.” I want it to be, I wrote this because I felt this. I wrote this because I heard this song and it made me think about the larger picture that’s going on.

From there, that changed how I approach writing about everything. I don’t think I can write about just any old thing. I really have to think about the intricacies of the music, the culture, the societal implications. There are so many layers that need to be explored, because music is really a snapshot of the times that we’re living in.

So when Harry Styles came out with “As It Was,” why did he write that? When Kehlani came out with “Folded,” what did we need? Why did she do that? What is that signaling? What conversation is that opening up?

It’s important to contextualize all of it, because music contextualizes so much for us. And if I can help one person contextualize the thing they love in a way that’s approachable, understandable, easy to decipher, but still keeps my voice and my opinion intact — that makes me feel good, because I can help one person today by thinking about the thing I can’t stop thinking about, which is music.

You’ve taught music reporting and mentored early-career journalists. What’s one misconception you see people have about professionalism — especially when they come into the field with a lot of passion for their beat?

I feel like people think music journalism, in the larger scope of journalism, isn’t as serious. Especially since I’ve been searching for a new full-time job for the longest, I think people are just like, “Oh, she’s a music journalist,” and that’s just it. Like it’s fluffy and fun. But there’s actually a lot that goes into doing what we do.

It’s the same journalism. I didn’t go to school for music journalism — I went to school for hard news journalism. Then I found that my particular beat was music and culture. And instead of just being like, “This song’s good, this song’s bad,” it’s a lot more rigorous than I think people expect.

When I first started teaching, some students — not all — thought it would be an easy A. And I’m like, actually, no. I’m going to have you guys working.

I had them go to events. They lived in the city, so it was easier. I told them, go on Bandsintown, find a cheap or free show, go review it. Reach out to publicists. Try to get a quote or an interview. And I think they were like, whoa. I thought we were just going to listen to music the whole time. But no — you’re learning everything.

My first internship at Vibe magazine was literally just, “Alright, you’re on assignment. Here you go.” So I had to learn a lot on the job. I’m taking what I learned without being taught and teaching people so they don’t have to be in that same circumstance. But it’s definitely a lot more work than people give it credit for. And it opens up a lot. It starts as a beat, and then it can snowball into so many other things. I’ve worked in tech. I’ve worked in higher education. I’ve worked at a streaming network. I’ve worked at a hard news organization.

Music journalism is far more impactful and serious than I think a lot of people want to say.

What are you a fan of right now? Any music, pop culture, or artists you’re loving or recommending?

I like Zara Larsson a lot. She’s such a star. I first heard her in 2016 with “Never Forget You,” and I’m glad she’s having a renaissance right now. I’ve been going to the gym a lot, so I’ve been in my female empowerment baddies era — Victoria Monét, Megan Thee Stallion. They make me want to go harder for myself and just be the best version of who I am.

I just listened to Monaleo for the first time — she’s a female rapper, she’s pretty good. Sault just came out with a new project. They’re like a funk/jazz, mysterious group, super cool. I really like Jacob Banks. UK musicians have been taking me there lately — I’ve been listening to Sasha Keable a lot.

Bruno Mars is coming out with his album, so I’m mentally preparing. I got tickets to the tour, and Raye is the featured guest, so I’m really excited. Also Alemeda, she’s pop-rock and angsty. Very cool vibes.

I’m no stranger to a nostalgic moment either. I’ve been listening to a lot of early 2000s music. One of my favorite bands ever is Gnarls Barkley, and I’ve been listening to them a ton.

Podcast-wise, I’ve been trying to listen to things that make me feel like I’m growing. I’ve been listening to Mess — it’s two comedian friends talking, and it’s really fun. I’ve also been listening to Fresh Air with Terry Gross. A friend compared me to her after watching one of my interviews, and I was like, maybe I should start listening. I’ve really been enjoying it. Another one I like is She’s So Lucky. It’s entrepreneurs talking about how they got where they are. I’m like, this is where I need to be.

I’ve also been doing more reading and audiobooks. I just started Buy Yourself the Damn Flowers. It’s one of those books that reminds you that you are that girl. Don’t let anyone dim your light. It’s easy to get wrapped up in comparison, but we're not seeing the full story. It’s a very, very helpful book.

Lauryn Love has worked across late-night television, magazines, and news, with publicity roles at NBCUniversal and Hearst Magazines that gave her a front-row seat to how stories are built behind the scenes, and how audience behavior, fandom, and timing increasingly shape what lands. She also writes Love Letters, a Substack examining pop culture through a PR lens.

For creatives curious about how pop culture narratives actually come together, Lauryn’s experience offers insight into the strategy behind visibility.

Below, she shares what makes campaigns resonate and how early-career creatives can better understand the industry they’re trying to enter.

You’ve worked in publicity across late-night TV, magazines, and news. What originally drew you to the industry and how did you find your way behind the scenes?

I was always drawn to the why behind what we consume. I loved pop culture and media, but I was just as interested in how stories get shaped, positioned, and ultimately land with people. Publicity felt like the perfect mix of creativity and strategy. I found my way behind the scenes through internships that gave me exposure to press strategy, talent coordination, and media logistics, and once I saw how much impact thoughtful storytelling could actually have, I knew it was what I wanted to do.

You’ve seen how stories land across so many formats. What patterns have you noticed in why certain campaigns, moments, or narratives resonate with audiences today?

The moments that really land feel intentional without feeling over-engineered. Audiences are extremely media literate and can tell when something feels forced or overly manufactured. The campaigns that resonate tend to tap into a real cultural conversation, align naturally with the talent or brand behind them, and leave some room for the audience to engage and make meaning for themselves.

When you look at campaigns today, what separates well-executed campaigns from the ones that fall flat? Are there any pop culture PR missteps you see often?

The strongest campaigns are clear about what they’re trying to say and who they’re speaking to. The ones that fall flat usually try to do too much or chase trends without a real point of view. A common mistake is confusing visibility with impact. Going viral doesn’t always mean something actually landed.

So much of PR is about understanding how people connect with things. How do you think about audience behavior today, especially in a time where fandom, virality, and online culture shape what gets amplified? Does fandom ever influence the way teams think about strategy in pop culture?

The way audiences interact with media has definitely changed. People don’t just consume it anymore — they engage with it, shape it, and play a real role in what gets amplified. Fandom absolutely influences strategy, and it’s something teams have to consider when thinking about how stories are introduced and sustained over time.

You’ve worked red carpets and supported major media events. From the press side, what goes into making those moments land the way they do? Is there anything early career creatives should know?

Most of the work happens long before anyone steps onto the carpet. Early on, I didn’t realize how much goes into getting talent ready for those moments, from hair, makeup, and styling to media prep and making sure everyone’s aligned going into the carpet. And even more goes into it once you’re actually running the carpet, making sure the right press are there, interviews are moving smoothly, and everything stays on schedule. The best red carpet moments look effortless, but trust, they’re the result of very careful planning.

What’s a behind-the-scenes reality about publicity work that people on the outside would be surprised by?

How much of the job is problem-solving in real time, paired with how much thought and planning goes into everything. Plans change constantly. Schedules shift, availability changes, and messaging evolves. A big part of the work is staying calm, adjusting quickly, and making sure both the story and the people attached to it are handled thoughtfully. It can be stressful in the moment, but when it all comes together, it’s incredibly rewarding.

You’ve had a front-row seat to some of the biggest entertainment brands. What did those environments teach you about navigating the industry early in your career?

Working in those environments taught me to stay curious, be dependable, and take the work seriously. No matter how big the brand, the industry is small, and people remember how you show up. Consistency and trust go a long way.

What inspired you to start Love Letters, and how does writing about campaigns and pop culture shape the way you think about PR and storytelling strategies?

Love Letters started as a place to slow down and unpack the moments shaping culture in real time. It’s where I cut through the noise and look at why certain campaigns, stories, and pop culture moments actually stick, and how they come together behind the scenes. Writing it has sharpened how I think about storytelling and strategy, and it’s become a space to connect entertainment, media, and culture in a way that feels thoughtful but accessible.

What advice would you give someone who’s passionate about pop culture, fashion, or media and wants to turn that passion into an actual career?

Treat your curiosity like something worth developing and really pay attention to how pop culture moves and how projects come together. Take internships seriously, because those early roles are where you start to understand how the industry actually works and how teams operate day to day. Relationships matter more than people realize, and since the industry is small, the way you show up tends to stick with people long after a role ends.

What are you a fan of right now? Any campaigns, shows, moments, or trends that have been living in your head lately?

Like the rest of the internet, I’ve been obsessed with Heated Rivalry lately. It blew up incredibly quickly, but what has stood out is how organically that momentum has been sustained. It’s been interesting to watch how a passionate audience, strong storytelling, and timing can turn something into a real cultural moment

Before even turning twenty, concert photographer Kate Cummings had already taken her talents on tour with artists like Hozier and AJR.

For creatives hoping to break into live music, Kate’s experience is a reminder that careers don’t move at one set pace — there’s no “right age” or perfect moment to start, just a willingness to learn on the job and be ready when opportunities appear.

Below, she shares how she got started, what tour life has taught her, and one practical step for anyone hoping to break into concert photography.

How did your journey in photography begin, and what drew you specifically to live music? What was the first moment you realized, “This could actually be a career for me”?

I’ve had a camera forever, but I started taking it seriously in high school — mostly shooting friends and school sports. Then, I got into concerts through a local publication, built a portfolio, and eventually shot for AJR. That tour pretty much made me fall in love with tour photography and video work.

You recently photographed Hozier’s tour. How did that opportunity come together, and what did you take away from the experience?

I got connected with Hozier’s team through a friend, and after a quick meeting with management, I was on a plane the next day. The tour ended up being more than I could’ve ever imagined — I got to travel to new places, meet amazing people, and really get immersed in the tour world. The biggest thing I learned was how important it is to take care of yourself when you’re out on the road. With the constant travel and crazy sleep schedules, prioritizing your mental health and basic routines becomes everything!

You also went on tour with AJR. When you’re preparing for large-scale tours like those, what does that look like — gear-wise, mindset-wise, or creatively?

Before a tour, I make sure I’m fully comfortable with my gear and always pack backups for everything — batteries, cards, camera body, lens, all of it. I try to keep my setup as compact as possible. I’ve never really had time to mentally prep because most of my tour calls are super last minute, but if I did, I’d absolutely give myself a self-care week lol. Creatively, I try to prep by diving into the artist’s music — listening to their stuff, looking at their branding, and building a color scheme or vibe for the tour.

Being so young in an industry that often skews older must come with challenges. Have you ever felt underestimated, and how have you built confidence in those spaces?

I’ve definitely been hit with the whole “you’re too young” thing, which sucks. But I always remind myself that there are plenty of people who do believe in me and my work — and I’ve done the work to get to where I am now.

Creative work can be both thrilling and draining. How do you keep yourself inspired without burning out?

Burnout is such a real thing, especially in this industry! When I’m out on the road and we have off days I like to explore the new city we’re in while listening to music. I always tend to find some sort of thrift/antique shop, museum, or gallery that fills me with new inspiration. When I’m not on the road, I like to create a solid balance of work shoots to personal shoots so I’m not overwhelming myself.

A lot of your work captures not just performance but emotion. How do you approach translating the feeling of live music into images?

I love love love capturing emotion. It’s definitely one of the first things I look for whenever I shoot a show. Before a show, I like to listen to the setlist and really figure out a vibe/color scheme for each song so that when the show starts I already have somewhat of a game plan. Post-show, whenever I go into editing I really try to reinstate the color scheme, framing, and story that I had made up in my head.

For other young creatives hoping to break into concert or tour photography, what’s one realistic first step they could take?

For anyone just starting their concert photography journey, I’d say to prioritize making connections. Networking is so key in this industry.

Danielle Gould knows that feeling well. While a student at New York University, she landed internships at NEON, Broadway Video, Universal Pictures, and the Producers Guild of America. Now working as an assistant at NBCUniversal, Danielle launched Industry Interns, a resource designed to help students and early-career creatives navigate the confusing early steps of an entertainment career.

Below, Danielle shares the habits, tools and mindset that helped her break in, including how she organized applications, approached networking realistically, and handled rejection early on.

You’ve landed several internships yourself and now run Industry Interns to help others do the same. What inspired you to start it, and what gap did you notice for students or early-career creatives trying to break into entertainment?

I was inspired to start Industry Interns after noticing the lack of industry preparedness in myself, my peers, and general discourse online. During my time at school, I had so many conversations with fellow students who felt lost or behind and didn’t know where to start. I think our classes at school focus on craft, history, or specific skills but lack the entry-level career readiness we need immediately after graduation. Where’s the class on agencies’ mailrooms or how to be a good assistant? I wanted to create a resource that could help fill out some of those gaps.

When you first started applying for entertainment internships, what felt the most confusing or intimidating about the process, and how did you figure it out?

I was intimidated by the sheer number of internships that even existed, let alone trying to figure out what was worth my time applying to. I was overwhelmed by trying to change my resume and cover letter to be perfectly tailored to each job. Slowly, I curated a few templates that worked for me and was able to speed up my application process. My best advice is to keep a few versions of both your resume and cover letter handy, and mix and match to best fit each job.

Entertainment internships open and close at different times, which can be confusing. What’s your advice for staying organized and spotting opportunities early, especially for students who don’t know where to start?

I love a spreadsheet! I had one throughout college with a tab for each internship semester. I’d write down the name of the internship, the company, key details, the deadline, when I submitted, and whether I got an interview, rejection, or was ghosted. It was helpful to stay organized and to look back and notice patterns from previous years to help better predict future timelines. Websites like Hollylist and Entertainment Careers were also really helpful.

The industry is built on connections, but not everyone has them starting off. For someone without family or school ties in entertainment, what are some realistic ways to build relationships without it feeling forced or intimidating?

The best way is to lean into the relationships you have with people who have SEEN you work. On their end, it’s much easier to vouch for you or recommend you if they can back it up with actual experience. I even mean if they’ve seen you work as a barista or in retail — ask those people if they know anyone in the spaces you want to be in. Professors and classmates are also a good place to start.

Truthfully, the generic 20 minute LinkedIn Zoom chat isn’t likely to blossom into a long mentorship. Those are good for learning and gaining information about specific roles, but harder to start a significant relationship with a stranger. Hence my emphasis on people you know!

Whether it’s a fan account, student org, or creative project, many people already do the kind of work entertainment companies value, without realizing it. What’s your advice for showing that off professionally?

Any experience you have can be fair game for your resume. Think about ways to tailor it to entertainment using quantifiable data and strong verbs. If you have a lot of visuals or tangible projects, throw them into a website! There are great free options and templates out there and it can really elevate your presentation to employers.

Thinking back to your internship applications, what helped you feel prepared, from your resume and cover letter to the interview itself? Any choices or habits that helped you stand out?

I know it sounds simple, but really doing the research beforehand. Employers can tell when you haven’t, and can especially tell when you aren’t actually interested in the role or company. In terms of resume and cover letters, I sought out my school’s resources and tried to get them in front of a few people for feedback before sending it out.

Rejection is a big part of applying. How did you handle “no’s” early on, and what advice do you have for people who don’t get in this round but want to keep building toward their dream job?

I think my rejection numbers are somewhere in the three digits... Needless to say, it’s absolutely a part of the process and remember that everyone has been rejected far more times than not. While you can never really be sure, I used to think it was helping “get my name in the system.” It’s good practice to get used to the application portals and I tried to channel it into motivation to keep working toward my goal.

What’s one lesson from your internship days that still guides how you approach your career, and one small step you’d recommend to anyone who dreams of working in entertainment?

Kindness goes such a long way. Entertainment can be stressful, and you might be working around people with big personalities, but you can always control how you treat others and the attitude you bring to work every day. People want to keep good people around!

That realization, along with a growing frustration seeing women dragged in tabloids, led her to create ROARA, an online magazine dedicated to spotlighting women in entertainment through a fan-led lens. Each issue aims to challenge harmful narratives and highlight the impact of women whose work shapes pop culture.

Below, Darija shares how ROARA began, what she’s learned from years in the fan engagement space, and why she believes fan-led storytelling is a powerful tool for rewriting the narrative of women in entertainment.

ROARA began as a response to how the media treats women, especially women in entertainment. What was the moment that first pushed you from fan to founder?

I originally got into journalism to change the narrative around someone I care about, who was treated poorly by tabloid media. Knowing the amazing human being Rita Ora is, I wanted to share the truth - and I did with my first article, published in 2021 (republished in 2025). The response blew me away and made me realize the power of the fans’ perspective and the positive impact it can have. A few months later, I decided to give the fans’ perspective its own platform and space to flourish. Something I’ve always said is: why wait to see change when you can be a part of making it happen?

You’ve spent nearly a decade in fan-driven media. What has working with artists and fanbases taught you about the power fans really hold in shaping narratives?

Fans truly are the backbone of the music industry. They drive an artist’s success in ways that traditional campaigns can’t. Making them a part of your music campaigns should never be optional, it needs to be a non-negotiable. Every fandom has its own vibe, but they all share the same goal of seeing their favorites thrive.

ROARA stands out because the storytelling is fan-led. What do you think changes when fans shape the angle, tone, and perspective of a story?

Fans speak from the heart, with pure intentions, sharing the human side that mainstream media often misses. By giving fans a platform, ROARA collects and amplifies their perspectives, turning them into stories that reflect the real person behind the name.

Part of your mission is challenging harmful media narratives about women. What are the most common patterns or biases you see, and why do you think they persist?

Women in the industry face so much criticism and it’s rarely about their impact, but rather their appearance or mistakes they made. They aren’t given the benefit of the doubt, nor are they being taken seriously, even when they are the most competent person in the room. It’s sadly always been like this, but while it’s difficult to fight it, we have the power to overweigh it with a new and more uplifting narrative.

You’ve said ROARA was born from wanting to “write a new narrative” instead of just reacting to the old one. What does rewriting a narrative look like in practice?

Each month, the featured article is written based on the fans perspective of the woman we are putting on our cover. I reach out to fans and ask them to simply answer a few questions like “what made you become a fan of hers?” or “what’s something you wish people knew about her?” Based on and inspired by their answers, I write the featured article. This way, I might be the one shaping the narrative, but the fans are the ones who make it possible — they’re the heart of each story.

Launching your own publication is not an easy task. What were the biggest challenges you faced building ROARA, and what has kept you going over the last four years when things felt difficult?

The biggest challenge for me is writer’s block. Especially when the next issue is close, you wanna get it right and do it justice, but sometimes your mind just doesn’t want to cooperate. I’ve also had to juggle a full-time job, while also working freelance in the music industry, and keeping ROARA and my podcast (Switch It Up) afloat. It’s a ship with lots of decks, but when you see the impact it’s having, it’s worth all the sleepless nights, hard work and perseverance.

Many fans dream of using their passion to build something meaningful. What skills helped you turn fandom into a career pathway, and what skills do you think matter most for someone trying to do the same?

It’s crucial to know your strengths and use them to your advantage. Persistence has been my greatest skill, while patience has been my toughest challenge. You need to put in the work, but also trust the timing. Yes, you will be belittled, judged, and misunderstood at times — but you have to truly believe in yourself and your abilities, especially if you want to work in music or media.

ROARA has spotlighted everyone from underrated talent to global icons. What makes you decide that someone deserves a cover or a feature?

It’s mostly a gut feeling. I keep a running list in my notes app, adding and reviewing names each month. I also take inspiration from social media trends across platforms. And just because someone hasn’t been featured yet doesn’t mean their time won’t come. I do take suggestions, but ultimately, it has to feel right in the moment, so it doesn’t feel forced but purposefully.

As someone who champions women and fan communities, what do you hope the future of fan-led media looks like? What shift do you believe is coming next?

I hope fan-led media gets taken more seriously and becomes a recognized and respected new way of journalism. I hope that we can write a narrative so bright, it outshines all the negative headlines, the misconceptions and the clownery of tabloid media.

What are you a fan of right now? Do you have any pop culture recs?

Right now, I’m all about supporting emerging and underrated artists and showing up for them when it matters. There’s something exciting about discovering new voices and helping them get the recognition they deserve, but it’s as important to maintain the loyalty and support towards the incredible artists who have been a part of your journey and growth, shaping your love for music.

Carla has also experienced “full circle” fangirl moments, an ode to her younger self who dreamed of being in the same room as some of her favorite artists. As someone who has touched different ends of the music industry, some of Carla’s career highlights don’t always involve high-level talent or the glitz and glamor of tentpole events. From advocating for music creators, to producing documentary-style content that resonates with marginalized groups, the moments that truly ignite Carla are the ones that activate the community.

Below, she talks about the lessons she learned coming up in this world, the soft skills people overlook, her proudest campaign and the realities fans don’t see behind the scenes.

You’ve spent over a decade working across different corners of the music industry, from radio and live events to digital media. How did you first find your way into this world, and what drew you to working behind the scenes in music?

I always like to say that my career is a happy accident, and that is because I never intended to work in the music industry. When I went to school, I was studying film and TV, because I wanted to be a producer and write scripts for TV and film. But when I graduated, I was looking for a job, so I applied for every entry level position out there in entertainment, and that also included a part-time promotions assistant for my local radio station.

Radio was the first place that hired me, and I kind of stuck with it because I truly fell in love with it from the very beginning. I was making $11 an hour, but it really got my hands dirty with live events and set the foundation for the type of work ethic that I have today. I’ve made lifelong friends, friends that I met ten years ago at that first job are still my friends today. I still talk to my old bosses who hired me back in the day, and they still reach out for opportunities for me. From there, I just moved upwards in the radio world before ultimately finding myself here at the Recording Academy today.

I’ve met a lot of people in social media who come from marketing or communications backgrounds, but I noticed you also have roots in photography and video editing as well. You can see that background in your content because it’s very creative and complex compared to typical brand posts. Can you talk about coming into the industry from that angle, and what skills you think are important to build for someone taking a similar path?

I think something that I don’t think a lot of people talk about is working on your soft skills. Yes, your hard skills are important. Working for the Academy, and even when I was still working in radio, I was doing a lot of videography, photography and video editing. A lot of those hard skills can be honed and built through physical practice, learning on YouTube or taking a couple of online classes here and there.

But what a lot of people neglect are their soft skills — being able to communicate efficiently, and being able to work among so many different types of people. Working in this music industry, you are bound to meet so many different types of people. Some people are really easy to work with. Some people have a workflow that might be a little bit difficult to work around, but it’s all about being able to work with so many different personalities, being organized, and having that attention to detail.

These soft skills are so integral to the music industry space, no matter what part or what level of the industry — whether it’s an internship or an entry level role, or if you are in a more senior executive role.

You’ve worked across radio, live events, and now digital media at the Recording Academy. Each of those spaces has such a different culture and energy. How has moving through those different “rooms” shaped your perspective on the industry and the way you tell stories now?

I spent almost nine years working in the radio space before working for the Recording Academy now. There’s a lot of similarities, because it is still corporate, but also there’s a lot of differences as well. For example, the Recording Academy is a nonprofit, and we do a lot of mission driven work. It’s all about the music community, helping music creators, and it all goes back to music people, rather than us. In radio, yes, it is for the listeners and for the community, but also, there’s so many parts about radio that can sway on the corporate side, like meeting those quotas and landing sales deals.

So moving across different corners of the music industry, from live events and radio and production and all of that stuff, it’s really different. But I think at the end of the day, you have to be able to adapt really well and be able to work hard. It really doesn’t matter what part of the industry you’re working in, your work ethic does have to be top notch, and you have to be able to be flexible and be able to adapt in different situations, especially because the music industry does move really quick and things can change at the drop of a hat.

There’s so many skills out there that are needed working in entertainment that can be honed in other areas, outside of music or outside of entertainment. When I first started working in music, I was also volunteering at food festivals. Food festivals don’t have much crossover when it comes to music, but what I was doing at these food festivals has also helped me working live events and concerts. So that’s something that I would want to highlight for incoming industry professionals. You can find other areas and other industries to work in and volunteer at, and those skills that you’re practicing and honing can transfer into music or into entertainment.

What’s a campaign or project you’ve worked on that you’re especially proud of, either because it challenged you or because it felt meaningful?

Earlier this year for the Academy, I was the lead for our AAPI Month campaign for the marketing team, and this was a project that I put my whole heart and soul into to lead. I created the marketing plan, came up with the key messaging, and worked alongside other departments to do talent outreach. I worked on the production for an in-person shoot and also just production on the side, for any talent who couldn’t make it to our shoot but still wanted to participate and submit self tapes.

I basically touched every part of this campaign, and I am so proud of it, because as a Filipino American, growing up, I didn’t see a lot of representation or people that looked like me. To be able to create a campaign that spoke from my heart — for the community, by the community — is something that I am so incredibly proud of.

And of course, during this harrowing time in this current political climate, I think it’s extra special that we were able to highlight AAPI groups who are making moves in music, inspiring the next generation, and leading leaning into DEI instead of swaying away from it.

This campaign was the first time I’ve ever worked on something that was so massive. I put all of my years of experience, from radio and live events and production and coordinating, into this one campaign, and I am so incredibly proud of it. We also did great numbers on social as well, so not only did I create something that really resonated with the community, but we also hit our KPIs and did great numbers on our socials.

You’ve spoken about being a Filipino American woman in a male-dominated industry. How has that shaped how you approach your career and creative choices?

It really started when I was in school and I was studying film and TV, there really wasn’t a lot of Filipino Americans in my classes. On top of that, there weren’t a lot of Filipino American women in my classes. There was a small handful of us in the program. Then, when I started working in radio and working in music, there just really wasn’t a lot of us. And there had been a few micro aggressions here and there, whether it wasn’t the intent, but the impact was negative, so I’ve always felt like I needed to work 100 times harder than any of my male or white counterparts just to be seen in the same spaces. I felt belittled by women that I thought I could trust but couldn’t, and it sometimes is really hard to navigate the space, especially when I started ten years ago.

I feel like there weren’t too many of us on social media who were sharing their stories. It was really sparse, and I think that’s also why I love doing interviews like this or sharing my story online, because I want other women of color out there to look at me and say, hey, if Carla can do it, then I absolutely can do it. There is a space and a need for me to be in the music industry and to make big, bold moves and to find success in a career that I love so much.

So being Filipino American and trying to navigate this whole world is new, especially because I don’t have any family that works in entertainment, so I had to do everything on my own, and kind of wing it, figure it out, and find mentors on the way throughout my journey. It’s been definitely hard, but it’s also been rewarding, especially because I know I’ve put in so much work, time, and energy into my career. It’s just extra special knowing that I’ve been able to find pockets of success here and there, after putting in so much work.

What do you think is one big misconception fans might have about working in the entertainment industry, especially from the outside looking in?

I think a misconception about working in this industry is that there’s going to be instant gratification and that you don’t realize how hard it is to find success in entertainment until you’re actually knee deep in it, working and going through the trenches alongside the people that you’re working with. All that people are seeing is our social media highlights. If someone is going through my TikTok or my Instagram, and they’re seeing all the cool things that I’m doing, they’re seeing a culmination of ten years of hard work, but they’re not seeing that hard work.

They’re just seeing me on the red carpet, or having a photo with Selena Gomez, or getting free concert tickets. But they don’t see all of the hard work, all the early mornings, the late nights, the free weekend work I’ve done. They don’t see all of the super intense dedication I’ve put in over the last ten years.

I think it’s important for any young professional who wants to work in entertainment — whether that’s music, TV, film, whatever it may be — that you are going to have to work extremely hard, and there are sacrifices that are going to be made. I had a colleague who had an internship, and she didn’t have a car, but this internship was going to help put her career on the map, so she would take two buses. She would take Uber. She would do whatever she could to make it to this internship. She didn’t have a social life. She made all these sacrifices, and now she’s doing pretty big things in the music industry. So when you’re first starting out, you have to realize that there are sacrifices that you’re going to have to make. You might have to work a little bit harder than what you anticipated, but it all works out in the end.

For someone hoping to work in entertainment, what’s one practical skill they should start building now, and one mindset that’s helped you the most?

I want to say that working in this career field, it’s all about mindset and how you view something. When I was working in radio, I was working an Olivia Rodrigo concert, and I was working alongside some new hires. These were entry level production assistants. One of them found out that they weren’t going to be able to go inside of the Olivia Rodrigo show, and that when they were working this concert, they were really working outside of the venue doors, interacting with fans.

When they found out that they weren’t going to be able to go inside and actually enjoy the show, their entire mindset completely shifted from excitement to I don’t want to do anything. This was the perfect time for them to also learn the ropes from some of the best who have already been in this role for at least a year, and were some of the best on the crew, but their attitude completely shifted. There’s going to be a lot of moments just like this working in entertainment.

A lot of aspiring industry professionals need to realize that you are here to work. Just because you’re working a concert or the GRAMMYs or anything that’s artist focused doesn’t mean you’re directly going to be in the same room as these big people, but it’s also important to shift your mindset and see that there’s always going to be good that comes out of it. So with that aspiring professional who showed bad attitude, it’s okay to feel disappointed, but they could have said, you know what, that’s totally okay, I’m working alongside some of the best on this crew. I’m going to learn. I’m going to put in my 200% working this shift, and then maybe next time, there’ll be an opportunity for me to be inside the concert.

So I think a really big piece of advice that I could give to incoming industry professionals is to always shift your mindset because there might be moments where you’ll feel disappointed, or you might not be in the same room as an artist or celebrity, but if you’re in it for the right reasons and you work hard and have longevity in this career, you being in those same spaces as artists and celebrities, it’s just going to happen. It will happen, and it’ll happen in the most organic, most genuine way, if you do things the right way and just keep pushing forward and working hard.

What are you a fan of right now? Any pop culture or music recs you’re loving?

So first of all, I am a huge 5 Seconds of Summer fan. I’ve been a fan of theirs for well over a decade, since they first opened up for One Direction during their Take Me Home tour, and they are releasing an album very soon. My best friend and I already purchased tickets for their tour next summer, and I am loving their their new sound, and everything that is happening in this current promo for their next album.

I’m also obsessed with Olivia Dean right now. She is so incredibly talented. She is beautiful. I love her voice. I read a lot of books, especially romance books, so sometimes I’ll listen to her music while I’m reading these books, and it just puts me in a really good mood. Also, K-Pop Demon Hunters. I’m obsessed with the movie. I’m obsessed with the soundtrack. We bought their vinyl, and I think it’s just amazing songwriting, and it’s great.