During the Music Week Women In Music Awards 2026, we inducted a host of trailblazing industry executives into the Roll Of Honour, in association with Live Nation Women.
They join a huge list of previous honourees, including some of the leading names from across the business like Kanya King, Emma Banks, Charisse Beaumont, Rebecca Allen, Stacey Tang, Laura Monks, Shani Gonzales and Mary Anne Hobbs, who have been selected since the awards began in 2014. The Roll Of Honour aims to shine a spotlight on the variety of individuals who are leading the charge in the music industry and consistently using their platforms to support women, or focus on empowerment and gender disparity.
Following the Women In Music Awards ceremony, Music Week is running Q&A interviews with all of this year’s Roll Of Honour inductees.
With more than a wealth of experience in the creative industries, Ree Sewell has built an unconventional yet dynamic career spanning event management, presenting, radio, tour management and A&R. She has worked at, and with, both independent and major labels, including Universal, BMG and Believe, which has shaped her diverse perspective on the music ecosystem.
Now serving as senior artist & label relations manager at SoundCloud, Sewell focuses on supporting artist development, driving audience growth and helping foster vibrant music communities.
Passionate about upskilling the next generation of artists and music executives, Sewell is committed to helping shape a healthier, more sustainable music industry, and has participated in Girls I Rate and Music Week's Mentor Me column series. Dig in below to learn more about one of our Roll Of Honour 2026 inductees…
How do you feel about joining the Roll Of Honour?
“It feels serendipitous! I’ve been working in the background for so long and have always felt unseen, so to join Music Week’s Women In Music Roll Of Honour and to be highlighted alongside other incredible women is just that – an honour! I am beyond grateful to be selected amongst so many women I’ve been inspired by throughout my journey. And as a first-generation Jamaican in the UK, I’m extremely proud to have been recognised for representing my culture within the music industry. I don’t usually celebrate myself for the work I do, so an occasion like this is very special to me.”
Looking back, how do you reflect on your early years getting into the industry?
“Oh, they were trying times, but actually living them in real-time was a rollercoaster. The industry has changed so much since I first joined it: streaming exploded, and the way we value artists has always been a point of contention. I got into the industry in a very rogue way by doing things that I enjoyed, such as music blogging ‘Reeviews’ on my ‘TheReeUp’ Instagram and website, and my IRL showcases. I landed a scouting job with Girls I Rate and then an A&R job at Believe off the back of it through [Cre8ing Vision’s] Kwame Kwaten. I was super rough around the edges as I didn’t have a typical musical background, so it took a little while for me to understand the industry, which I constantly challenged in my earlier days.”
Did you have a mentor at that stage?
“Unofficially, yes, I was learning and taking in everything from those around me as the industry was foreign to me at that point. None of my friends were working in music and I was starting from scratch. Kwame was definitely my first mentor, and Cre8ing Vision’s ‘Ultimate Seminar’ provided opportunities to hear from – and connect with – so many active music executives. At every seminar I attended, I made sure that I networked as much as possible.”
Supporting the mental health of artists and executives, and compensating people accordingly for their work, is vital for a healthier industry
Ree Sewell, SoundCloud
With your career in music spanning event management, presenting, radio, tour management, A&R, artist relations and record making, you have a broad perspective of the industry. With that in mind, what area or issue needs the most attention in 2026?
“Goodness me, I’ve really tried everything, haven’t I! An area that needs more attention is artist development. Taking time to nurture artists/creators to help them release their full potential is really important, as is giving them touring support in relation to fees and visas. Supporting the mental health of artists and executives, and compensating people accordingly for their work, is vital for a healthier industry. And the industry has changed, so it’s necessary for all companies to make an effort to adapt and to stay adapting in this ever-changing climate, as the technology advances and the next generation of musicians and creators emerge within it.”
How has artist and label relations work evolved in the time that you’ve been working in that area?
“With artists and their management teams taking a direct role through modern label services deals, we can collaborate closely and build deeper, more personal relationships. This alignment helps us craft tailored partnerships, leveraging our features to support each artist's unique style and strategy offering an individualistic approach. From Discord to TikTok Bulletin Boards, fan communities are evolving fast. We’re constantly innovating our features to match the way creators connect with their audience and feel like a natural part of the creator-fan conversation.”
Artist remuneration has been a key focus for SoundCloud. How have you been developing fairer and stronger offers in terms of revenue for artists?
“Firstly, by recognising that there isn't one single model that's going to create a sustainable career for every artist. Streaming is incredibly important, but it’s increasingly difficult for artists to build a career on streaming revenue alone, so we view remuneration as something the industry has to continue evolving. At SoundCloud, we’ve been approaching that in two ways. The first is making streaming itself more directly connected to fandom. That was the thinking behind Fan-Powered Royalties, where a fan’s subscription revenue is tied directly to the independent artists they actually listen to, rather than everything simply going into a pooled model. But the bigger opportunity is helping artists monetise the relationship they’ve built with their fans beyond streams. We believe the future of music is fandom, and artists should have multiple ways to turn that fandom into a sustainable business. So we’ve been expanding the tools available to them across Fan Support, Artist Storefronts, on-demand vinyl, ticketing and live events, direct music purchases and distribution. The goal is really to remove some of the barriers that historically made those opportunities difficult for independent artists to access. An artist shouldn't need to be at a certain scale before they can press vinyl, sell a ticket, monetise a fan relationship or start building a business around their music. So for us, fairer remuneration isn't about finding one perfect replacement for streaming. It's about continuing to improve the streaming model while building a broader ecosystem where artists have more control, more ways to earn, and a more direct relationship with the fans creating that value.
You return frequently to the University of Westminster from where you graduated with an MA in Music Business Management (we’re told you were a model student)! When you visit, you give talks to students, help with mentorship and provide industry advice. What drives you to give back so much?
“I learnt so much at Westminster. Being able to connect with and hear real stories from the guest speakers about their journeys and experiences helped me lay out a pathway of what roles I wanted to explore, and gave me the confidence to do that. Knowing I had diverse contacts in the industry and an advanced level of understanding of what I was walking into, really accelerated my growth. Coming into the music industry following a career in social care always gave me imposter syndrome, as it was so rogue. I felt like I had knowledge gaps. After being awarded the Power Up grant in their first cohort and speaking to Yaw (who ran the programme) and Sally Anne Gross PhD (the course leader), I knew undertaking Westminster's Music Business Management masters would be worthwhile. To show my gratitude, I want to pass on the torch, sharing my knowledge and experience and connecting with the new generations of execs.”
What’s your biggest achievement so far?
“My biggest achievement is receiving a distinction for my music business management masters degree. I joined the course as a mature student, which was extremely daunting 10 years after I did my undergraduate degree, seven years after saying I’d never return to formal education and three years after joining the music industry. I worked full time, had to find numerous ways to manage my relationship and friendships, travel, and still left with top marks. I am incredibly proud of myself for that and appreciated the continuous support from my partner, my family and my friends.”
What advice would you offer young women about enjoying a successful career in music?
“When things get tough, focus on why you want to work in music. Challenge the rules respectfully, always question what you’re doing to see if there is a better or another way to do it, and find something that makes you really happy even if it starts as a side interest. You never know how much it can develop into your specialism.”
And what’s the best advice you’ve ever had?
“‘No one is you, and that is your superpower.' It constantly reminds me of the value of my individual perspective and how bringing my authentic self to a team drives unique outcomes.”
Is there a young woman you'd like to shout out who you think is a rising star in the industry?
“Mel Ijieh and Esther Djimo. Mel is an incredible A&R and artist manager whose fearlessness inspires me. Esther is forging her own lane in live and documenting her journey along the way. Both are amazing execs who work extremely hard behind the scenes, going against the grain to make meaningful changes.”
Similarly, is there a young woman artist whose music you're enjoying right now/excited about?
“I’m really excited about Moriah Mensah. She’s a multi-talented singer, rapper, producer from South London who isn’t afraid to create without borders, which has allowed her to explore a variety of sounds as she carves out her own lane in the music industry. I’m really enjoying her new project MENSAH – give it a listen!”
Finally, what’s your biggest lesson from 2026 so far?
“I put so much into my work that I don’t really switch off, so my biggest lesson, which SoundCloud continuously reminds us, is remembering to take time for yourself so that you don’t burn out. That’s integral to being the best version of me for everyone – and especially for myself.”
PHOTOS: Louise Haywood-Schiefer/Panni Renner
