With the Brit Awards 2024 just around the corner, its headline sponsor Mastercard has unveiled a new initiative to celebrate and platform the next generation of music. The organisation is spotlighting a group of trailblazing individuals who are working to drive real change in the music industry – across technology, diversity and inclusion.

The radio/TV presenter and journalist Vick Hope is fronting this year’s Mastercard campaign and sat down to chat to Stylist about some of the latest trends in the music industry, the importance of uplifting new talent and the legacy of music in the UK.

What are some of the new trends you’ve seen happen in the music industry over the last decade?

One major thing, which isn’t a wholly positive trend, is that songs can become hugely popular overnight on streaming and social media platforms, especially TikTok. An artist’s song can be clipped and used as a soundbite for a trend and that song may even rocket to the top of the charts but then we never hear from that artist again. It doesn’t feel as though there’s real development for an artist and their work – it’s simply chasing the next hit song.

It’s quite different to what an artist’s journey was like years ago when I was first starting out in the industry. We had spaces like 4Music and MTV where you could see artists honing their craft and building a fanbase and, more importantly, growing into the kind of artist they wanted to be. But the industry is so fast paced now and I worry that there isn’t always space for that growth anymore.

Even though social media does allow artists to reach listeners directly, it appears as though it’s also accelerated how artists are discovered and music is created.

It puts a lot of pressure on artists, and then you wonder how authentic is the music going to be if it’s been rushed through? This is why I find artists like Raye so inspiring. She took her career into her own hands and turned around and told the industry, “I’ll put out the album I want to make when I’m ready to make it and it’ll tell my story.” I think she’s paved the way for so many artists to now do the same. Social media can be a great tool insofar as someone like Raye is able to share her story directly to the world, in her own voice. There’s a lot more transparency.

Do you feel as though the music and radio industries have become more transparent?

In my opinion, yes definitely. I grew up during the 90s and 00s and listened to all these pop stars and bands but had no idea what sort of things were happening behind closed doors – from how these bands were put together to what being signed to a record label actually meant. Even though some parts of the industry are still hidden from the public, it does seem to be more transparent than it used to be, especially when it comes to artists sharing their experiences.

Compared to when you first started out in the radio and music industries, what changes have you seen in your own career?

There are a lot more women and people of colour working in the industry, which isn’t to say we don’t have more to do when it comes to representation and inclusion, but it’s in a much better place than it was a decade ago. At BBC Radio 1, we have so many brilliant women at the helm of shows and I’m really proud of that. I often think women are pitted against each other and we’re fed this idea that we’re supposed to be in competition. But we’re all different and we all bring different things to the table. We’re not ‘one size fits all’.

However, progress is never done or guaranteed. We need to keep shouting about the lack of funding at the local level and the closure of grassroots venues and organisations that have always traditionally supported musicians. Because that’s what it’s all about: everyone being able to access music.

What needs to be done to ensure that artists from all kinds of backgrounds have access to music and feel nurtured and safe within the industry?

It’s always about paving the way. The seven trailblazers that we’ve been showcasing this year are working across the board to ensure that there’s positive and lasting change. From ensuring that orchestral music is accessible in more rural parts of the country, exploring innovative ways that deaf or hard of hearing artists can create and consume music, to looking at the accessibility of venues to ensure that the needs of all fans were being met – each and every one of Mastercard’s trailblazers are brilliant and I’m honoured to be a part of this campaign.

How important is the legacy of the UK music scene, especially when it comes to the country’s history and social influences?

If you look at the size of our country, in comparison to the US, and then look at our musical output, it’s honestly wild! We are such an important musical force and even though we’re geographically small, our music differs up and down the country with each region showcasing something a little different. I’m from Newcastle and the north east has such a rich live music heritage, but my brother lives in Liverpool and that’s a city that also has such incredible music and history. There’s so much going on.

The importance and value of music can be undermined, especially by the people who don’t want to spend money on it. But it’s something to be nurtured and protected.

You can read more about the seven trailblazers and their work via the Mastercard website.

Pictured left to right: Kris Halpin, Gawain Hewitt, Megan Steinberg, Vick Hope, Sooree Pillay, Joe Hastings, Geo Aghinea, Elizabeth J Birch.

Images: Mastercard