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FREELANCE MUSIC JOURNALIST & EVENTS & ARTIST PR, Outside Org Zoya is a London-based writer, editor, creative consultant and copywriter. Formerly a Staff Writer at Kerrang! and features editor who has crafted compelling narratives on music, culture, and entertainment for globally recognised outlets like NME, i-D, Vogue India, The Independent, The Grammys, and Rolling Stone UK. Their writing spans artist profiles, brand campaigns, and music copywriting. Zoya has collaborated with major clients, including Arsenal F.C, Live Nation, Lost Village, eBay, Channel 4, MOB, Nike, Coca-Cola, Skittles, MUBI, Sky and NOW TV. . |
Ethnicity: Pakistani - Indian - Iranian |
Location: London (UK)
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What does your average day look like?
My day can vary day to day, as is the way with PR! My role, predominantly, involves working across festival campaigns such as All Points East, LIDO Festival and BST Hyde Park as well as drumming up coverage for events like the MOBO Awards, tours or movie releases that tie in with our clients. My day can look like putting together a PR for a festival announcement to liaising with client marketing teams to draw out editorial partnerships and strategy around the festivals/events we have coming up. I also run Outside’s social channels and support artist campaigns, mostly with rock/alternative artists. PR is quite admin/email heavy as you’re interacting with editors and writers across publications. As a PR and journalist, it’s great working with journalists and outlets I really respect and enjoy.
I tend to freelance on the evenings and weekends, pitching ideas, scene reports or interviews on artists that I’ve discovered and would love to write about.
What is a common misconception about your role?
The purpose and role of PR. I was familiar with PR as a journalist but, also, now working in the field I have immense respect for the thought and nuance put into campaigns by fellow PR companies and teams. Jannat Choudhury, Mohammad Qazalbash and Chris Cuff are some of the best in the game and have taught me a lot.
What is your most & least favourite part of the job?
Creating special moments around our events and bringing new ideas and editorial into our campaigns. I love being collaborative and bringing my perspective and insight into our projects. My least favourite aspect is how unpredictable things can be, but I like to be challenged by what’s coming next, both as a publicist and as a journalist.
An important skill/trait for success in your role
I think diligence, detail and a strong perspective.
Tell us a bit about your industry journey
As a journalist, I made a concerted effort to establish myself as a music writer, especially as there’s not many writers like myself. There’s a distinct lack of diverse voices across media and I’ve worked hard to contend with white peers who don’t get profiled in the same way that I do and have been. I’ve had a few positions, including Features Editor at Gay Times, Staff Writer at Kerrang! to periodically being a music columnist at ITV’s Woo. I was made redundant at my last media role and I landed my role at Outside Organisation.
The transition into PR, while balancing freelance, was initially tricky, but I believe my experience and lens as a writer has set me up to have a unique angle for the industry. Being in both fields, I have a sense of music trends, editorial strategies and a contact base which is handy. I have an essay and experimental poem in Kate Pasola's upcoming book Bread Alone: What happens when we run out of working-class writers, which unpacks my industry experience and gives advice to aspiring writers.
Describe when you knew that you wanted to pursue a role in the music industry
I contributed regularly to the music magazine at the University of Nottingham. I landed my first-ever interview with Sabrina Carpenter, while studying, after tracking down her PR contact. Since then, I’ve never let go of the feeling of community and connecting with music – something that I thoroughly enjoy in both PR and as a journalist. I love interviewing acts and digging deep into their work as much as I enjoy coming up with campaign ideas for a music festival.
How does your heritage affect your experience within the industry?
During an interview, the wonderful artist Beth Ditto and I spoke frankly about the state of the industry. She was the first musician to call me a rock journalist and tell me I’m as good as any white counterpart writer. I realised, there will always be a need to prove myself and to speak out. I know there’s plenty of times I have been commissioned solely on being POC in a majority white industry and music scene (rock/alt music). My heritage has affected my experience as, more often than not, I tend to be one of the few POC in a music industry room – this applies for both PR and as a journalist. I work hard to support new writers by giving advice, mentoring and sharing freelance opportunities. If it wasn’t for advice from writers like Charlie Brinkhurst-Cuff, Shahzaib Hussain and Robin Murray, I think my career would look a lot different.
Favourite project that you've worked on
As a writer, I’m immensely proud of a piece I recently wrote for VERSUS, which was an interview with Joy Crookes. Amiee Cripps is a brilliant editor and I’ve written two of my favourite pieces with them. Another I’d have to mention is a small feature I did for CRACK on Soundcamp as part of their Palestine issue. They’re a brilliant magazine and it was a wonderful interview.
Your advice for someone entering the industry
You will likely get commissioned, at some point, to write a story on your identity that might feel like you’re mining yourself for content - don’t do it! Only share what you feel comfortable with. This industry isn’t a race. Be proud of your work and share it.
Your 5 music selects from the community
Charlie XCX - Next Level Charli
Lexie Lou - X
daine - it’s you
yeule - Sulky Baby
Vertigo - Griff
