Rising Star is our monthly column in which we meet the industry’s brightest new talents. Here, Emily Connick, Junior publicist at Huxley, talks us through her industry journey so far...
How did you first break into the industry?
“I got my bachelor’s degree in fashion PR and communication from London College Of Fashion in 2022 after having wanted to work in that industry for my whole life. I never actually planned to work in the music industry, but I had done a few internships at music PR agencies Satellite 414 and Zeitgeist during my degree, which were fun and something I’d never tried before. Once I graduated, I cast the net far and wide but was focused on entry-level fashion jobs. Then a friend sent me a job advert for an internship at Huxley that I was intrigued by – their work brings together fashion, music and entertainment in such an interesting way, which I really thought suited what I wanted to do. I progressed from intern to press assistant to junior publicist – and nearly two years later, I’m still here!”
You worked on the album campaign for The 1975’s fifth consecutive No.1 album, Being Funny In A Foreign Language. From your perspective, what is the key to their continued success?
“I was lucky enough to start my career by working on a band that has actually been my all-time favourite since 2016. I think what makes them so incredible and so successful – five albums into their career – is their continued direct connection to their fanbase and the culture they’ve cultivated in their community, both online and in-person. I love that every album marks a new era for the band, with new styling, creative and sound, and they are constantly innovating and pushing themselves, as well as challenging the work they’ve [previously] done. But overall, I think it’s just the love for, dedication to and appreciation of their fanbase that has contributed to their continued growth over the years.”
Does the industry value the power of a good press campaign enough?
“This is a question I see discussed in music a lot. I think the industry understands that press campaigns don’t look like they used to, and the changing media landscape and prioritisation of marketing has definitely impacted that, in my opinion. But I don’t think you can underestimate the value of a tailored press campaign, particularly for smaller acts that need to have their story told. The world will always need storytelling!”
With so many music titles either closing or radically changing their formats, how much more difficult is the role of music PR in 2024?
“I think it’s easy to look at how the media landscape is changing and see it as a dire or [difficult] situation, but in reality, there are still so many amazing opportunities for artists – they just don’t look the same as they might have done 10 years ago. It’s important for PRs to keep innovating and thinking outside the box. There are so many alternative ways for artists to tell a story these days, and for each artist it’s going to be different – it’s the role of PRs to get creative and find them.”
Finally, where do you see yourself in five years?
“I try not to think about that too much or I’ll panic! I’m enjoying where I’m at, the experience I’m gaining, and I’m excited to see where it leads me in the next few years. I’m not tied to any specific area of my work – I like working with talent and in music, but I also love the work I do in community building, brands and events. I think my ideal
situation would be growing in those areas further and landing somewhere in the middle.”
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