Rock’s Not Dead, It’s Ruled by Women: The Round-Table Conversation, The NY Times

Top, in back row from left: Shawna Potter of War on Women; Victoria Ruiz of Downtown Boys; and Sadie Dupuis of Speedy Ortiz. Front row from left: Alex Luciano of Diet Cig; Laetitia Tamko of Vagabon; Christina Halladay of Sheer Mag; Lindsey Jordan of Snail Mail; and Sophie Allison of Soccer Mommy. Credit Natalia Mantini for The New York Times

By Myki Angeline


Q:  How do you first start making music?

Christina Halladay, Sheer Mag: “You have to suck for a while.”

Alex Luciano, Diet Cig: “You have to suck for so long! No one tells you it’s ok to suck.”

Shawna Porter, War on Women: “Just because of your gender, though. There’s millions and millions of completely mediocre, terrible bands with dudes in them.”


As digitally-enhanced pop music steadily dominates mainstream radio waves, many of us are left asking where did the musicians and bands go? We long for songs with artists playing guitars and drums, heavy bass chords, and organic lyrics.


Q: How are listeners handling this shift in power when it comes to gender:

Christina Halladay, Sheer Mag: “Teenage boys are very upset.”


The New York Times released this article that highlights women in rock – particularly in the indie scene. They interviewed some of their favorite female bands like War On Women, Downtown Boys, Diet Cig, and Snail Mail – who are a driving force in music today. Included in the article are quotes and song samples proving why rock is not dead because women are dominating the industry.

Complete article can be accessed here:

Sadie Dupuis, left, of Sad13 and Speedy Ortiz; Shawn Potter, right, sings in War on Women, a “super overtly feminist” punk band. Credit Natalia Mantini for The New York Times.

Front and Center: President of Women In Music, Jessica Sobhraj

The WiMN’s Front and Center is a weekly column that showcases accomplished women who work in the music and audio industries. We spotlight successful female performers, manufacturers, retailers, educators, managers, publicists, and everyone else in between. Want to be featured? Learn how here.

Front and Center: President of Women In Music, Jessica Sobhraj

By Myki Angeline

Jessica Sobhraj is a woman of action. She serves not only as the President of the non-profit organization Women In Music, but also as the CEO for Cosynd, a company that educates and assists creators in protecting their content. Sobhraj loves giving back to her community, especially when it comes to helping out women in the music industry who still battle with issues such as the wage gap, discrimination, and harassment.

She spoke with us recently on how she came to volunteer for WIM, and how much the organization has effectively impacted the music industry in the U.S. and around the world since it’s humble beginnings nearly 32 years ago.

WiMN: What was the initial inspiration for the creation of Women In Music?

JS: Women in Music ( is a 32 year old non-profit that is dedicated to supporting women in the arts. It was initially formed by a group of women in New York that wanted to host casual gatherings for women in the music industry to network with each other. Over the years, WIM developed into the largest and most far reaching organization for women with a mission to advance the awareness, equality, diversity, heritage, opportunities, and cultural aspects of women in the musical arts through education, support, empowerment, and recognition. Today, the organization is operated by a volunteer staff of 60+ with chapters established all over the world to support thousands members.

WiMN: What are your primary responsibilities as the President of this non-profit organization? How did you become involved initially?

JS: Serving as President of WIM has been one of the most personally fulfilling times of my career. Before I became President, I served on the board from 2012-2015 as the Co-Chair of Fundraising. I’m fortunate enough to be in a position to give back on a large scale to a community that faces discrimination, harassment, scarcity of opportunities, the pay gap, and more.

As President, I work very closely with our Board of Directors to set the tone for the organization and to determine the goals that we will collectively work towards each year. There are some responsibilities that are constant and predictable like certain administrative tasks and others that are more spontaneous and creative like structuring partnerships or collaborating on new programming. I’m most happy when I get to roll up my sleeves and tackle something with each of our different committees (membership, communications, fundraising, events). They keep me on my toes and ensure that I never have a “typical day” – I’m so grateful for that!

Personally, I like to think of myself as “Chief Empowerment Officer” of WIM. I get to work with the most talented, altruistic, and incredible people in our industry to support an amazing cause. It’s my responsibility to ensure that our Board members, advisory board, and volunteers all feel empowered and engaged by the organization to accomplish the things that are dearest to them. We all joined WIM to support women in our industry and we all captain specific initiatives that we’re passionate about – it’s my job to define the resources and processes to make those passions reality within the scope of WIM’s mission. For an all-volunteer organization, I’m very proud of the fact that we have very little turnover and attribute that to the dedication our mission inspires within our community.

WiMN: How many chapters are there currently? What kind of impact have you seen with the expansion of WIM?

JS:  Domestically, WIM has chapters in New York, Boston, Chicago, Nashville, and Los Angeles. Internationally there are both established and developing chapters in Canada, Great Britain, Northern Ireland, Barbados, and Brazil. We are working on launching four other international chapters in 2018.

WIM has always served as a hub to locate any resource imaginable. Our members use our group to find advice on any topic, career opportunities, housing opportunities, discounts to conferences, referrals to professionals, gear and space rentals, and more. By launching new chapters, we’re able to help our members access new markets and expand their individual networks on a larger scale. WIM is a truly supportive community in a myriad of ways.

During our rapid expansion, we have also remained focused on improving our infrastructure and our dedication to providing valuable programming. Over the last year, WIM has launched a new membership platform, hosted several high value events in major music markets such as our executive brunch at Midem for 100 hand picked executives across 22 nationalities, and crafted a suite of new membership programming in a relatively short time.

WiMN: Do you play an instrument? Who have been your role models?

JS:  I grew up in Toronto, where access to the arts was very important in early education, so I had access to most common instruments. I’ve played both guitar and clarinet…I remember just enough to embarrass myself should the occasion call for it!

There are definitely people in my life that I would have called a role model or mentor at one time or another, but they have since become part of my inner circle of trusted friends – that’s the goal, after all! Mentorship is most fruitful when the relationship can grow organically to a point where there is a genuine desire to want to help each other. Asking my mentors “What can I do to help you?” has always led to a more solid relationship. If I had to highlight (and thank) just one of my mentors, it would be author and angel investor, Kelly Hoey. I met Kelly a decade ago when I interned for her at a major law firm. Now, she is an advisor to Cosynd and a great friend to WIM! Kelly literally wrote the book on networking called Build Your Dream Network. Check it out!

WiMN: You are also the CEO of Cosynd. Can you share with us what Cosynd is about and why it is so important to content creators?

JS: Cosynd ( is a simple, cost-effective, and legal way for creators to protect their content. We make it easy for them to create agreements that collectively establish ownership of their content. Our users can also register works with the Copyright Office, and the performing rights organizations, and propose monetization opportunities to their collaborators.

Our founding team and advisors have decades of experience in intellectual property and the hurdles of establishing and documenting ownership of content. We were able to collectively build a powerful, but easy-to-use tool to help creators protect themselves without having to spend a large amount of money (some creators neglect to take this step because they believe it is too costly). Ultimately, establishing ownership is a necessary step that creators have to take if they intend to monetize (license, sell) their content via a service. Doing so early on reduces liability and the potential for conflicts between collaborators when a deal is actually on the table – that’s when things can get really messy!

Similarly there are benefits to registering works with the Copyright Office. For example, registration ensures that there is a public record of your ownership of the content. Registration is also necessary if you intend to file an infringement suit and will permit you to pursue statuary damages as well as attorney’s fees from litigation.

WiMN: Have you experienced any struggles or hurdles as a woman in this industry? If so, how have you overcome them?

JS: Yes, I’ve experienced nearly all of the common hurdles, unfortunately!

Our sister organization, WIM Canada, has actual data on what has been most beneficial to women in overcoming these hurdles. Of the women that participated in their study, they indicated that the following solutions had the most impact on their progression in the music industry:

  • Providing women with more access to networking opportunities
  • Implementing an overall workplace culture that is supportive and sensitive to the needs of women
  • Providing women with more access to mentors

We have also found the following methods to be successful in contributing to the progression of women worldwide

  • Creating a community for women to network
  • Making a conscious effort to hire more women in executive capacities and providing internal support
  • Celebrating our leading female experts
  • Providing educational resources
  • Encouraging and engaging men to support these initiatives too

Within Women in Music, our members will find instances of all of these solutions.

WiMN: Can you share with our readers some fun facts about you?

JS:  I’m a dog mom to a feisty pup that hates the clothes I force her to wear. Yes, I’m one of those people.

WiMN: Do you have any advice or recommendations to women wanting a career in the music industry?

JS: Fear, insecurity, and doubt are the common enemies that we all have, regardless of our career status. Fear in particular can lead to crippling complacency if it’s not addressed. We’re often told to “not be afraid”, but fear is such a natural emotion to have – you can’t help it! It’s our internal gauge that something we’re doing is either a mistake or something truly worthwhile. If you’re afraid, be afraid, but also be fiercely brave too. Keep going until you’ve got clarity on whether you’re on the path to a mistake or your next great adventure…and if it turns out to be a mistake, so what? Mistakes often turn out to be the greatest teachers.

Lastly, I would highly recommend joining Women in Music. For women, it is a highly supportive and beneficial community both personally and professionally. There, you will find a tribe of women that have expertly overcome the very same fears, insecurities, and doubts that you may be grappling with!


Putting Yourself Out There: 5 Tips for Submitting Your Music

by Amy “Drea” Dorman

It’s that time. You’re itching for the world to hear your music. You’ve poured your heart and soul into this music, spent countless hours and bucks on the tracks, and can’t wait for the wildly positive reception the world will have for your creative masterpiece. Before you send your musical baby into the blogosphere, here’s a few things to keep in mind:

1. Make sure your product is ready for the world.

This may seem like a no-brainer, but it’s important to be honest with ourselves before the submission process. We may be super amped about how our music sounds, but when it comes down to it, is it truly at the level of other music you hear on the blogs and radio circuits?

If not, back to the drawing board. Be sure you are putting your best foot forward.

If yes, dive in! But buckle up, because ready or not, it may not be a smooth ride.

2. Know your genre and the genre tendencies of the blogs you are submitting to.

Everyone’s busy these days, but bloggers are busier than ever. On any given day, an online magazine may receive 100+ email submissions, and many of these blogs only have one person fielding these messages.

Do your research and know whether or not you are a good fit for this blog. Also, know that this extends beyond genre. If a blog only covers brand new music, don’t send them music outside their specifications.

This will save both you and the busy bloggers precious time.

3. Use the blog’s official submission process.

Some blogs will encourage you reach out via social media, but for the most part, bloggers prefer you use the official submission process. This is usually through a submission email or online form on their website. Again, do your research.

Reaching out personally through social media when you have had no contact with them on social media before can have a negative effect on your request.

Follow the rules, and send a follow up email for the best results. Of course, if you have been mutually interacting with a blog on social media, you can use that to your advantage, but otherwise, it is typically frowned upon to stalk a blogger’s personal pages.

4. Use a blog source like Submit Hub. (No, they aren’t paying me for this. But maybe they should?)

Submit Hub allows you to reach out to hundreds of blogs (that they are connected to) at once for free, or, for a small fee, reach out with Premium status, which requires the blog to listen to at least 30 seconds of your song AND respond to you with a short message as to why they are not moving forward with your song (if they reject the submission). If they don’t follow these rules, you get that credit back and can use it to submit to another blog. Pretty handy, and a time saver.

It is geared mostly for song submissions, vs. video submissions, so if a music video review is what you’re after, you may need to reach out organically. Keep in mind, Submit Hub is not connected to every blog in the universe, and there are still some pretty great ones outside of its reach, but it’s a good place to start.

Note: Rules 1-3 still apply when using a source like Submit Hub.

5. Be honest with yourself, and stay positive.

Your music may be the most amazing thing since sliced bread (or the doggy filter on Snapchat), but musical tastes are very subjective to the listener. Take criticisms with a grain of salt, but also take what you can from them and learn for next time.

You may get 75 no’s, 23 no responses, and two yes’s, but that’s normal.

They say you only need one yes in the sea of no’s, and hey, you’re in the sea, so you’re doing more than the people still on the shore. It is a brave thing to submit yourself and your music to others for critique, which is essentially what you are doing when you are sending it to blogs.

Hopefully the above tips will help lessen the blow of inevitable rejection, and in the process you will find some music lovers who just happen to be on the same wave length as you.

In the meantime, remember, a few no’s (okay, A LOT of no’s) does not mean the sky is falling and your music career is over before it’s begun. Keep your chins up, and keep creating.

Minnesota native Drea is a recording artist and songwriter based in Los Angeles, CA. Her debut EP No Vacancy explores her deepest questions and longings, within the framework of catchy and electrifying dance pop songs. Drea’s music has been featured in blogs, podcasts, and dance videos around the world. The EP’s highly anticipated music video “Take Me Home” is set to release in 2017. To learn more about Drea and listen to No Vacancy, head to

Her Story, Her Voice: The Iridium Hosts Four Weeks Of Fierce Female Performers In Celebration Of Women’s History Month

By Myki Angeline

March is the month to celebrate women, and what better way to do so than to host it with women in music.

This March, the Iridium, a musical landmark which celebrates over 20 years of showcasing next generation talent in NYC, will host four weeks of fierce female performers in celebration of Women’s History Month.  HER STORY, HER VOICE will feature an eclectic mix of musicians and women thought leaders, with Grammy-nominated neo soul singer/songwriter Meshell Ndegeocello kicking it off with three shows March 1 through March 3.  Additional performances in March will include She Rocks Awards recipients and performers Jennifer Batten, Beth Hart, Steph Paynes, Lez Zepplin, along with artists Liz Longley, Shemikia Copeland, Meiko, Aziza Miller, Chely Wright, and more.

“As one of the only female booking agents at a music venue in NYC, it has been an aspiration of mine to highlight and bring together strong women in the music industry,” says Grace Blake, General Manager and Senior Booker at The Iridium. “More specifically I have been wanting to bring an all-female lineup to the room, and what better time than now?”

A portion of the month’s proceeds will go to The Women’s International Music Network (The WiMN).

Click here to learn more about this incredible event, and view the calendar of performances:  Her Story, Her Voice

‘I’m With Them’: Celebrating Women In Music With 100 Female Musicians On Sound Gaze Radio

100 female musicians from across the world have joined up with Sound Gaze Radio to celebrate women in music through the massive, ten episode project entitled “I’m With Them,” available now to download and listen.

Presented apolitically, each episode aims to provide positivity in the face of overwhelmingly negative feelings and does so by highlighting the power of a women’s voice in music with songs ranging from the ’50s up to this year.

100 female musicians from around the world came together for these series of 75-minute episodes with each episode devoted to the music of 10 artists, and a female musician they admire and love. The Shirelles, Letters To Cleo, EMA, Tacocat, The World Is A Beautiful Place…, Agnes Obel, Policia, Lady Lamb, Republica, Lucy Dacus, Eternal Summers, Eskimeaux, and many more took part in curating these special episodes with the result being a diverse celebration to the wonders of inspiring women musicians.

With dozens of styles and sounds on display from close to 200 monumental female musicians, this is a timely reminder of the stirring power women yield in music, and the utmost respect they truly deserve. Sound Gaze Radio brings this all to listeners in ten, 75-minute episodes available now as a podcast across several different mediums.

All 10 Episodes Available Now At

As Well As iTunesGoogle Play, & Additional Podcast Directories

Front and Center: Director of Artist Relations for PRS Guitars, Bev Fowler

The WiMN’s Front and Center is a weekly column that showcases accomplished women who work in the music and audio industries. We spotlight successful female performers, manufacturers, retailers, educators, managers, publicists, and everyone else in between. Want to be featured? Learn how here.

Front and Center: Director of Artist Relations for PRS Guitars, Bev Fowler

By Myki Angeline

bev-guitar-hsBev Fowler has become a well known name in M.I. for her relentless work in artist relations and events for Paul Reed Smith Guitars.

On any given day, you may find her on the phone with artists like Carlos Santana and John Mayer; performing emergency tasks like overnighting equipment to Mark Tremonti, Neal Schon or Zach Myers; or assisting with the preparations and  event strategies for trade shows like NAMM, Experience PRS, and more.

Her hard work doesn’t stop there. Fowler is also a philanthropist, and has helped raise 5 million dollars for the Living with Cancer Resource Program at the John Hopkins Kimmel Cancer Center in Maryland through PRS’ events and partnership with that institution. Spearheading it all? None other than Bev Fowler.

For more on PRS guitars, visit

WiMN: Do you play an instrument?

BF: Not currently. Growing up, I played the piano but unfortunately gave it up in my teenage years. I have always wanted to learn to play the guitar but haven’t managed to find the time to take lessons.

WiMN: What is your first recollection of being involved with music?

BF: Music was a big part of my life from my early childhood years. My dad had an extensive record collection and wide array of different genres. I always credit my dad for my ultimate love and appreciation for music as he exposed me to many different types of music at a young age.

WiMN: When and where did you enter the M.I. workforce?

BF: At the age of 17, I was offered a part time job by an old family friend. I was a senior in high school with hopes of pursuing a college degree in psychology. I began working for a manufacturer’s rep firm specializing in Pro Audio & Sound Contracting as an office assistant but quickly worked my way up into an “inside sales position.” I eventually got my psychology degree but decided to pursue my career in the music industry instead. Through my 12 years of working as a sales rep, I had the privilege of representing pro audio brands such as Harman Professional, Sony Pro Audio and Rane Corporation.

WiMN: You’re currently the Director of Artist Relations at PRS. Did you hold any other position at that company before?

BF: Yes, I actually started my tenure at PRS as the Executive Assistant to the President. This position exposed me to all facets of the business including manufacturing processes, sales, marketing and accounting. As a result, I had many opportunities to interact with our artist endorsers and began establishing working relationships with many of them. I really enjoyed that aspect of my job and found myself wanting to work with the artists more and more. Eventually, I was presented with the opportunity to join and support the Artist Relations team.

WiMN: Describe a day in the life of Bev Fowler.

BF: Ha Ha! Every day is different! I often describe my job as a tornado and a constant whirlwind of things to do. Most of my day is spent in “reactive mode” handling various needs and requests from artists. Flexibility and patience is key. I work very closely with Paul Smith on the business matters as they pertain to AR and collaborate regularly with our marketing team in effort to support and promote our endorsers.

WiMN: What does it take for a musician to be a PRS artist?

BF: First and foremost, a genuine desire to be part of the PRS family. There are many factors that we take into consideration for an artist endorsement and they vary on a case by case basis.  We really pride ourselves on having a good, strong working relationship with the artists we work with and there’s a lot of give and take. We provide tools to the artist to do their job and in exchange we rely on the artist to influence the customer while also giving us brand exposure.

WiMN: Who are some artists that you have regular interactions with?

BF: Carlos Santana, Mark Tremonti, Zach Myers, Neal Schon, John Mayer, Howard Leese and Orianthi just to name a few.

WiMN: What are some challenges you’ve faced for being a woman in a male-dominated field, and how do you cope with them?

BF: Thinking back through the years I haven’t really experienced many challenges as they relate to me being a woman. From the time I started in the industry, I knew I had to work hard to earn the respect of my peers and once I did that, I have remained confident in what I do and gender conflicts have never really been a problem.

However, I do recall feeling a little hesitant when I became the Director of Artist Relations for PRS. Being the only female on the team was never uncomfortable for me but when I became “the boss,” I worried about how the structure change would be received by the rest of the guys in the department especially when you factor in seniority on top of the gender factor. I thought it was best to be up front and honest about my concerns and spoke to each one of my employees individually and much to my surprise, they all welcomed the change and seemed genuinely excited about me managing the department.

WiMN: Any other cool things you get to do aside from signing artists?

BF: Most of my time is actually spent marketing and promoting the artists we are working with. This gives me an opportunity to keep the creative side of me engaged. The best part of my job is the relationships that I have with the artists. Many have grown into friendships through the years and we’re like one big family. I absolutely love to put a group of endorsers in a room together, with guitars of course, and sit back and watch the magic that happens. It’s so neat to see them interact with one another in a casual setting and exchange licks, techniques, stories, etc. It puts a big smile on my face!

I also dabble a bit in philanthropy through our partnership with the Johns Hopkins Kimmel Cancer Center in Baltimore, MD. October 2016 marked our 17th annual “One Night, One Show, One Cause” event consisting of a golf tournament, live auction and concert. Since 2000, PRS Guitars has raised over $5.0 million for the Living with Cancer Resource Program at the Johns Hopkins Kimmel Cancer Center. The Living with Cancer Resource Program offers supportive care programming and education to cancer patients and families at Johns Hopkins MD.

WiMN: What are some positive changes you aspire to make in the industry?

BF: I don’t know if there’s anything I can personally do to have direct impact on the industry. The music industry has undoubtedly changed significantly through the years.  We’ve entered into a digital era where musicians are creating, recording, producing and marketing their music in a different way.  I fear that technology is only going to continue to advance and electronic music is going deter our future generations from picking up an instrument and appreciating music for what it really is… melody, rhythm and harmony. I wish I had the answers but I don’t so I’m just going to continue to put guitars in the hands of musicians and hope that the continued support of manufacturers like us will continue to enforce the need and desire for instruments.

WiMN: Who are some of your biggest role models?

BF: Hmmm… that’s a tough one. I guess I’d have to say Robin Roberts. I often think back to her acceptance speech at the 2013 ESPYs when she was honored with the Arthur Ashe Courage Award. I got goosebumps as I listened to her describe her life journey as a female sportscaster and news anchor, her contributions to women’s basketball and of course, her fight with breast cancer. Her words were very powerful and her demonstration of strength, determination, self-confidence and courage in everything she set forth to do was very inspiring.

WiMN: Do you think it’s true that “there aren’t enough female guitarists”?

BF: I wouldn’t necessarily say “there aren’t enough female guitarists.” I think there are a number of female guitarists who have not been recognized by the music industry. It’s rare that you see a female on the cover of or featured in a M.I. magazine and on the rare occasion that it does happen, the female artist is usually compared to a male guitar hero.

I have had the good fortune of working with some pretty incredible female guitarists and bassists, Orianthi, Jennifer Batten, Donna Grantis and Rhonda Smith to name a few. The more exposure we give female musicians, the more influential they will be on women and young girls who are aspiring to succeed in their music career. On that note, I have noticed moderate improvement the last 3-5 years and hope the trend continues.

WiMN: What are you looking forward to most at the 2016 She Rocks Awards?

BF: I’m extremely humbled to have been chosen as a recipient for a She Rocks Award. It is truly an honor and I look forward to the opportunity to network and with other women in the industry.

WiMN: Let’s wrap up with one of your favorite quotes…

BF: “A pyramid isn’t built from the top down. The apex is attained only by laying strong foundation stones, one by one. The same is true of achieving a lofty objective. The crucial thing is to lay the first stone, to take the first step.” – Daisaku Ikeda

Singer Marissa Nadler Announces Digital Release Of ‘Bury Your Name’


Photo Credit: Ebru Yildiz

For more than 12 years, Marissa Nadler has  perfected her own take on the exquisitely sculpted Gothic American song-form. On her seventh  full-length, Strangers, she has shed any self-imposed restrictions her earlier albums adhered to, stepped through a looking glass, and created a truly monumental work.

Nadler has shared “The Best You Ever Had,” recorded at Nadler’s home in Boston during the writing sessions that would become her recent, acclaimed album Strangers. The song is taken from Bury Your Name, a collection of exclusive songs that were recorded during that period of time, being released digitally by Sacred Bones on September 23rd. It was originally released as a strictly limited cassette released with a deluxe version of Strangers.


You can stream “The Best You Ever Had” HERE.

Bury Your Name can be pre-ordered HERE.

Nadler will be on tour with Ghost in October and November and playing select headline dates, playing songs from Strangers and other favorites from her previous records.

To learn more about Marissa Nadler visit her website:

You can watch her LIVE performance in the KEXP Station below!

‘The Guardian’ Discusses the Growing Absence of Women in Country Music

By Myki Angeline
Women-of-Country-I The Guardian recently posted a story painting a picture of the roles females play in the world of country music today.
As they put it, “The genre that once boasted the likes of Patsy Cline and Loretta Lynn now shuts young women out of country radio – and the problem’s actually getting worse.”
Within the article, many of country’s leading female artists of today are interviewed, sharing their experiences of sexism in the music industry. I found it to be a very interesting read having noticed the problem myself, as each time I turn on a local country station I find it riddled with “Bro Country” tunes.
 To read the full article via The Guardian, click here.

Janey Street Makes a Strong Comeback with EP, ‘I’m Not The Girl I Used To Know’

By Myki Angeline

static1.squarespace.comJaney Street is a shining example of what resilience looks and sounds like. She stands out in a society that mass produces young, cookie cutter artists with her own style of music that reflects her East Coast roots and years of experience in the music business.

Born and raised in Queens, New York, Street is no stranger to the music industry. She moved to Southern California in the 1980’s to record with labels such as Capitol Records, Warner Bros and Arista Records (Clive Davis) releasing two songs that charted on Billboard (“Under the Clock,” “Say Hello To Ronnie”). But just as quickly as it came, it went – Street was dropped from Arista shortly after. She remained in Los Angeles to write music for TV shows, movies, and other artists; supplementing her income with odd jobs like painting houses, waitressing, even working as a clown. Never giving up, Street found success once again with her 2009 solo project, The Street Less Traveled bringing back to her blues and R&B roots. But even that time in the spotlight proved to be short-lived, forcing Streets to go another direction with her style and songwriting.

Thanks to the support of Kirk Pasich and his new label, Blue Élan Records, she returned to the music scene with her EP, I’m Not The Girl I Used To Know – a collection of unique songs that echo the trials and tribulations of her journey in music. The title track sets the stage for the story of her life; it’s vulnerable, and a personal testament of her growth and change. “Tears Taste the Same” continues the story, embracing the release of tears to heal all wounds. “Situation” has a country feel, and suggests that life not to be taken too seriously. My personal favorite is “My Side of Paradise,” a modern fusion of hip hop and blues that gives a delightful description of the gritty world she comes from. The last track, “Bring It On,” is a bold and daring kind of love song written for the modern relationship. Her vocals are a combination of seasoned and edgy, paired perfectly with her lyrical genius. Streets is true inspiration for women in music.

Full-length album is available on iTunes here: My Side of Paradise

For updates and news, visit her website:

Francesca Allen Photographed Some Amazing Women In Music

By Lina Bhambhani

Photographer, Francesca Allen was given the opportunity to do a photo series of some London-based female artist who many have not recognized. Allen is part of a series called “Snap Judgement” where they gave Allen a Huawai P9 to shoot as she pleased and she chose to work with EE in recognition of Women in Music.

“A few months ago I was looking for a girl band to play a show I was helping to organise, and that turned out to be a lot harder than I thought,” stated Allen to “I reached out to a few record labels, and sadly they were a bit embarrassed about how few female groups they represented.”

It is still astonishing on how the music industry, internationally and nationally, are typically male dominated today. Though we believe we have overcome the gender’s generation of equality, it seems like the music industry is still not up-to-date yet. Allen took up this opportunity with EE to celebrate the focus of women in the music industry, who she felt were breaking the music industry barriers for women.

Some of the bands and artists Allen worked were Dream Wife, an English-Icelandic three piece girl band, Yaya Bones, who is a recent graduate from Central Saint Martins within the medium of music and visual arts, and Eleanor Hardwick, who is also a photographer, visual artists, musician and DJ.






dreamwife (1)

Images by Francesca Allen

For more information visit,