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Women In Music Awards 2026: Rising Star winner Mica Sefia

At this year's Women In Music Awards, we celebrated the achievements of game-changing executives and artists as the industry came together to honour their work. Music Week has spoken to the winners in all 14 categories to tell their stories. ...

Interviews

Women In Music Roll Of Honour 2026: Louisa Rainbird, head of music, Europe, Amazon MGM Studios

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. Louisa Rainbird is a distinguished music and media executive whose career spans more than two decades across music publishing, licensing, catalogue management and creative leadership within the audio-visual industries. As head of music, Europe, Amazon MGM Studios, Rainbird leads music operations across all European territories, overseeing a team of 11 music professionals who shape the creative and strategic musical vision for Amazon's original productions – encompassing scripted series, films and unscripted content. During her tenure, she has directly managed more than 100 titles, including The Girlfriend, All Or Nothing: Arsenal, Bait, and KSI: In Real Life. Before joining Amazon, Rainbird served as director of UK sync and head of creative, TV, at Music Sales (2016-2020) in which she steered creative strategy for a catalogue comprising more than 350,000 compositions. Acclaimed film and television composers including Hildur Guðnadóttir, Volker Bertelmann, Joby Talbot, and Dustin O'Halloran worked in collaboration with Music Sales. Earlier in her career, Rainbird held the role of music licensing executive at Sky UK (2011-2015), overseeing music for the broadcaster's commissioned programming slate as well as co-creating the live music series, Sky Arts Sessions. Beyond her day-to-day role, Rainbird created and continues to manage the Prelude initiative, a programme developed in partnership with PRS Foundation and Prime Video's Public Policy team. Prelude supports early career, UK-based media composers from under-represented backgrounds through funding, mentoring, structured informational sessions and networking opportunities, helping to build a more diverse pipeline of talent in screen composition. Rainbird’s contributions have been recognised with the Music Publishers Association's Richard Toeman Scholarship, inclusion in Music Week's 30 Under 30, and a listing on SheSaidSo's Alternative Power List. How do you feel about joining the Roll Of Honour?“I'm beyond thrilled — it's a privilege to join such an incredible list of inspiring women from across the music industry. I've attended the Women In Music Awards many times and always walked away feeling inspired by the breadth of talent celebrated in that room. It's one of the most uplifting and joyous events you can attend, so to be recognised as part of it this year makes it extra special. Looking back, how do you reflect on your early years getting into the industry?“In retrospect, it was a daunting experience. I knew I wanted to work in the music industry from a young age, but I had no idea about the roles that existed or any contacts who worked in the entertainment industry. I just tried to get as much work experience as I could and meet anyone from music when I was starting out so that I could develop my own understanding and build a network. This is one of the reasons I feel so strongly about advocating for industry opportunities for people who don’t have immediate points of access.” Did you have a mentor at that stage? “At that time, I wouldn’t say I had a mentor as such, but I have been lucky enough throughout my career to be surrounded by amazing women who have provided me with support and guidance. In the world of music for film and television, there are so many amazing women working as music supervisors, composers, agents and rightsholders, and I’m fortunate to work with them on a regular basis. I also get to work closely with fantastic female leaders in my role at Amazon MGM Studios who are a constant source of inspiration: Krista James, who is global head of music business affairs, and Laura Whibicks, director of music licensing. I have a group of girlfriends who work across the music industry and we serve as peer mentors to one another. They are the first people I turn to for advice, and they serve as equal parts agony aunts and cheerleaders!” What is it about the world of music for TV and film that you find so personally rewarding to work in? What would be your advice to young women looking to follow in your footsteps into that world?“I love how much music can impact an audience’s emotion and engagement with a character or a story. Try watching Jaws with the music off and you’ll see how much of the stress comes from John Williams’ masterful score. It’s always exciting to be part of shaping the music strategy to deliver something that will serve the story, to pull together the right team to deliver that vision, and to then see how audiences react to it once it’s out in the world. In terms of taking steps into the industry, there is a lot of information now available online about music supervision and sync. It’s also the easiest thing in the world to research by watching films and television shows. Most people working in the field are approachable, but I always recommend really honing in on what interests you and tailoring outreach to people whose work you admire. Many people think of music supervision as the primary role in this area but there are lots of opportunities related to this world beyond that role – from pitching catalogues for sync use, representing composers as agents, working as a music editor, and so on.” I feel very strongly about removing barriers to entry for people coming into the music industry, knowing how challenging it was for me Louisa Rainbird, Amazon MGM Studios You’re involved with Amazon MGM and PRS Foundation’s Prelude initiative. What impact has that made so far, and why was it so important to you personally to lead that change?“I feel very strongly about removing barriers to entry for people coming into the music industry, knowing how challenging it was for me. In many ways, I came to the industry with a lot of privilege. The focus should be on who is the best person for the job, not whether they know the right contacts or live in the right place. There has been progress made but there is still a way to go in promoting inclusive hiring opportunities across many areas, including less discussed topics like socio-economic barriers or childcare considerations. So far, we’ve supported eight people through Prelude, offering financial support alongside a tailored programme aimed at increasing knowledge, skills and network. I’m working internally on developing further opportunities for our previous participants while also looking forward to the 2027 edition.” What’s your biggest achievement so far?“Prelude is the achievement I’m most proud of. I’m glad to play even a small part in bringing about positive change in the industry, and I have personally learned a lot as part of the experience. In terms of productions, I’ve been lucky enough to work on amazing and varied projects across my career, but a particular recent highlight was the series Bait with Riz Ahmed, which we launched earlier this year. Beyond the incredible soundtrack in the show, we created a Music From & Inspired By Soundtrack, which contained 17 original songs featuring major talent including Riz Ahmed, Jorja Smith, AJ Tracey, Jay Sean, Talwiinder, Casisdead and many more, with tracks from the show, tracks that incorporated samples from the in-show music, and dialogue snippets, to creatively tie the album back to the series. Lily Girdlestone from our Music BA team and I worked closely with Riz, Ciara Elwis (music supervisor), and Zubin Irani from the record label partner, FAMM, on this release, which is the perfect example of how music can make such a difference to a show and have a life beyond the screen.” What advice would you offer young women about enjoying a successful career in music?“My main advice would apply to anyone wanting to work in this industry: work hard, take real ownership of your responsibilities, be willing to learn from your mistakes, and treat others as you would like to be treated. This industry can still be difficult – it involves long hours, differing opinions and urgent deadlines, so remember to be kind to yourself and find a group of people in the industry who will show up for you on the good days and the bad.” And what is the best advice you’ve ever had?“When I was just starting out, I applied for any and every entry-level job I could find. I was eventually offered a role while still waiting to hear back from another interview and, under pressure, I accepted it. Shortly after, the other company came back with an offer too, and I turned it down because I'd already committed elsewhere. I was gutted. My instinct was telling me I'd made the wrong choice, but I didn't want to let anyone down. I remember my dad saying that if I went back on my word, I might feel bad for a short time, but if I didn't do what was right for me, I'd feel worse for much longer. So I did end up taking the other role, being completely transparent with both companies about what had happened – and it turned out to be the right decision. I gained incredible experience in that job and was promoted twice within a year. It was an important life lesson in trusting your gut and advocating for yourself.” Is there a young woman you'd like to shout out who you think is a rising star in the industry?“Inna Lytovka, who works in my team as music coordinator for the UK & Nordics. Inna has been with the company for just under a year and has already made such a positive impact. She's been instrumental in supporting productions including Bait and Your Fault: London, has stepped in to support the wider European team during periods where we've been short-staffed, and is constantly looking for ways to improve how we operate. I'm really excited to see everything I know she'll go on to achieve.” Similarly, is there a young woman artist whose music you're enjoying right now/excited about?“I am a huge fan of Hania Rani, a Polish artist and composer whose musical output is beautiful. I knew from the moment I heard her music she would be perfect for scoring and she has since worked on several productions, including The Lost Flowers Of Alice Heart for us and, more recently, Sentimental Value, which has a stunning score.” Finally, what’s your biggest lesson from 2026 so far? “My dad passed away earlier this year, and it has been the hardest thing I've ever been through. There is no starker reminder of how short life is, and to make the most of every moment.”

Interviews

Women In Music Awards 2026: Campaigner winners Andrea Euell and Nicola Charles Ossai

At this year's Women In Music Awards, we celebrated the achievements of game-changing executives and artists as the industry came together to honour their work. Music Week has spoken to the winners in all 14 categories to tell their stories. Here, Cre8ing Vision duo Andrea Euell and Nicola Charles Ossai, winners of our Campaigner Award, reflect on the organisation's vital role in the UK business… Andrea Euell and Nicola Charles Ossai have been named winners of the Campaigner Award at this year’s Women In Music Awards – marking the first recognition they’ve received since establishing Cre8ing Vision. “Our first ever!” exclaims Ossai. “But everything has its right time. We’ve got loads to shout about.” Underlining her point, the pair are currently in the throes of planning a studio session initiative to help emerging talent from Manchester and London to produce an EP. Alongside co-founder Kwame Kwaten, Euell and Ossai set out to tackle a problem they knew well: how do you get young people into an industry where knowing the right people can be as important as having the right ambitions? The trio had those connections in abundance, built through years of combined experience across the music business – so they called on their network. What began with the Urban Music Seminar – later evolving into the Ultimate Music Seminar – brought aspiring creatives into the room with industry leaders and artists including Stormzy, Mahalia, Kano and Labrinth. Cre8ing Vision’s flagship industry event will return to London’s IET London: Savoy Place on Saturday, November 21. Max Lousada, 26.2 co-founder and former CEO of recorded music at Warner Music Group, will deliver the keynote address. From the launch of the Ultimate Music Seminar, it expanded into the umbrella organisation Cre8ing Vision, offering free events and programmes spanning A&R focus groups, recruitment opportunities, live showcases, writing camps and mentoring. The tangible speak for themselves: Melanie Ijeh went on to work in A&R and artist management at 0207 Def Jam while founding artist management company Sense AM; David O’Sullivan is now head A&R manager at NQ; and Akara Etteh worked as an A&R scout at Believe, Atlantic, Warner, Capitol and RCA before becoming a marketing intern at AWAL. These are clear examples of the pathways into the business that Cre8ing Vision has helped build. None of it happens in isolation. Behind that work is a network of industry partners whose support allows Cre8ing Vision to keep its programmes free and accessible. For Euell and Ossai, the impact and personal reward are visible not only in the continued growth of its alumni, but also in its ability to break down barriers to entry. As Euell puts it, “We can see the benefits of the work that we do because you can see that growth – the alumni growth, people still coming through, continuing to break down those barriers of entry, and accessing talent that is just not London-centric.” And after decades of doing the work, the Women In Music Campaigner Award gives Euell and Ossai another reason to look back – and plenty to look forward to... What does it mean to win the Campaigner Award at WIM 2026? Nicola Charles Ossai: “We've never been ones for glory; we've always just had a passion for what we do. So to be quite honest, when we first got told, I actually started crying because it means an awful lot. To be recognised at Women In Music is a really great accolade for what we've achieved as a team. We work really hard behind the scenes, and it's just emotional to know that someone thinks [we’ve] made a massive difference. Winning one of the biggest awards at the Women In Music Awards is just so amazing to me.”  Andrea Euell: “There are so many talented women out there doing great work in the industry, and so to be recognised together is a huge honour for both of us. I think we've always had this thing where we would never accept an award individually – that's always been our thing because we're a team, and we're equals.” Going back to the beginning, what was the principal motivation to set up Cre8ing Vision? NCO: “Some of it is our passion for music and our passion to help young adults achieve their goals. One of the biggest things that always comes up is that a lot of people just don't have access to the knowledge or the people, or they simply don't know that this information is out there. So the biggest thing is awareness. We want people to be safeguarded and knowledgeable in what they're achieving. We also want to help them be aware of certain pitfalls and how to overcome them, while staying open to all the great things they can achieve and be a part of within the creative industry.”  AE: “For us, it was really important to create something that could sit between emerging talent – whether you’re an exec, writer, or artist -– and the music business, to help funnel people into the industry. So reinvesting in the community and the next generation, being in a position where we have good connections and joining those two sides together. Jo Charrington said something in last year's Ultimate Seminar: this is the only place where you can get such a high number of high-calibre industry people with the next generation under one roof.’ I think that sums it up across the board in everything we do. Seeing that gap and knowing we had the potential to fill it drove our passion.”  A lot of people just don't have access to the knowledge or the people, or they simply don't know that this information is out there Nicola Charles Ossai You’ve worked with some huge industry names, and so many people who've come through your work have gone on to become stars themselves. Did you ever think it would become this powerful a platform? NCO: “For us, it's not really been about becoming powerful. It's always been about, 'Are we meeting the needs of what's out there?' Over the years, it has naturally grown to be what it is, which has been a real bonus on top of what we're trying to achieve.” AE: “You don't go in with an ego to build something that's going to produce all these stars. You come in with the passion and determination to create this safe space that people can access. My biggest honour is that a young person can say, ‘Because of you guys, I'm in the business now.’ It's not always about the glitz and the glam. Sometimes it's about the executive who got their first job. Those are really honourable moments for us. We've developed organically because we work so closely with communities of young people. We speak to young people on a daily basis, so by listening to what they want, we're able to develop and grow.”  NCO: “One thing I don’t think people realise is that we all have day jobs. This is not our full-time work, so when we're putting these things on, they're outside working hours, they're late nights, they're weekends. We always look to get people experience in roles like PR, stage management, videography, whatever it is. We always try to give them that exposure and access. We even have an A&R scouting team whose members have now gone on to be employed by major record labels. What I'm trying to say is that the reward we get isn't financial. It really comes down to passion because, I'll be honest with you, if I relied on Cre8ing Vision alone, I wouldn’t be able to pay my mortgage. It's that simple. We do it purely out of passion because everything we get, we put right back into the business.” What’s your biggest challenge and how did you overcome it? AE: “Our challenges come as a not-for-profit. You're in that space where every year you wipe the slate clean and start your finances again, yet you've built these very solid initiatives that you have to fund every year.” NCO: “There have been years when we've had to fund them ourselves.” AE: “And that's not taking away [from] the amazing sponsorships that we have in place. But everyone's financials change year in, year out, so it impacts a not-for-profit. That's our biggest challenge, but we make it work one way or the other. Some of our initiatives don't have any financial backing, but we run them day-to-day ourselves.” Can you let us into the relationship between the two of you? Why does it work, and do you ever disagree? NCO: “I'm going to say this, and it’s the honest truth about Andrea’s and my relationship: I met her over 20 years ago and we went from not knowing each other to working together, spending Christmas Eve together, and having dinners together. Our partners know each other. We go out together. Birthdays. Weddings. The whole shebang. So we do see each other as family. Andrea and I talk about much more than just about business. Sometimes we just pick up the phone and go, ‘How are you doing? Let's have a chat.’ We've both been through very hard life experiences and helped each other to get through those hard times outside of Cre8ing Vision, and that's very important.” AE: “Women should stick together. We understand each other and we're emotionally connected. I think it's really powerful when you can work in a company where two women are totally aligned. We're aiming for the same thing, so there is no power struggle. We are like sisters. When you can get two women working together, why should we be pitted against one another? I think sometimes society wants you to be that way, but it's not that way for us. We've built this very firm, solid working relationship – but most importantly, friendship." Women should stick together. We understand each other and we're emotionally connected. I think it's really powerful when you can work in a company where two women are totally aligned. Andrea Euell How satisfied are you with what you see in terms of representation and the opening up of the workforce to people from all backgrounds in the industry? NCO: “It's going in the right direction, but I think there's still work to be done. I worked at UBS, a global investment bank, and something I was a part of there was taking people with no qualifications from the job centre and giving them an 18-month exposure within the bank. Anyone who showed certain potential was hired. I think that's a great initiative, and maybe something that [could] be introduced in the music world – investing in people who might not have the education or the right access routes. It takes a lot to do something like that, but it unearths real opportunity. There are some hidden gems out there, but I do think people are trying.” AE: “We want to see a fairer, more inclusive space, especially for women. These days, you hear stories from young people who may be afraid to be in the studios in the evenings. There needs to be more protection for women within the industry at that level, but also a more inclusive space, breaking down those barriers, and allowing more grassroots talent into the business, even if it's at entry level.” What's your message to the wider music industry? AE: “Just that there is a lot of talent coming through at grassroots level. Don't overlook the talent – it's hugely important to the next generation of the music business, and our alumni prove it. Without taking away from the gratitude we have for the support so far, we just ask that people continue supporting us and the work that we do.” NCO: “As an organisation, we exist because you believed in us. All the rewards and thanks, you should share in those too. We want to keep doing what we're doing, and we are truly grateful for all your support, but we need that continued backing to allow us to do what we're doing.” So, ultimately, what do you want the legacy of Cre8ing Vision to be? NCO: “That we made a difference, we made an impact, and we were diverse. Everything that a company aspires to be and says it wants to be, we want to be known for that. That’s why this award is so important – it represents  everything we’ve been fighting to achieve and shows people what we're really about.” PHOTOS: Louise Haywood-Schiefer/Panni Renner  

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