As part of our Horizon Future Leaders series of interviews, we are connecting with the music industryâs next generation of leaders to gather candid advice and insights into their career journeys.
This week, we caught up with Cally Hamilton, Sampling And Infringement Assistant at Universal Music Publishing Group.
From running sell-out club nights with all-female line-ups at university to working her way up from an internship at Mr Bongo Records to Sync Manager, and now handling sampling and infringement at Universal Music Publishing Group, Cally Hamiltonâs career is proof that being multi-faceted and proactive early-on beats waiting for permission.
Her current role sits at a particularly interesting intersection: sheâs clearing samples for UMPGâs worldwide catalogue and helping UK-signed writers navigate the permissions they need, while also dealing with copyright infringement claims.
Itâs the kind of work thatâs become increasingly complex as sampling culture has grown and AI-generated content muddies the water around whatâs original and what isnât. Sheâs essentially managing the legal infrastructure that allows creativity to happen without stepping on rights, which matters more now than ever.
She didnât wait for opportunities to find her. She reached out to labels, volunteered at festivals and started her own club night while still studying. That proactive energy carried through, and her advice reflects it: the more you put in, the more you get out! And her closing piece of advice, âwork with more womenâ, speaks for itself.
Read the full Q&A with Cally below đ
Whatâs your current role in the music industry?
Iâm a Sampling And Infringement Assistant at Universal Music Publishing Group, within the Legal And Business Affairs team.
What does your general day-to-day look like?
Working alongside the incredible Helen Papaleonteou - who is Head Of Sampling And Infringements - I support the clearance of samples and assist with matters relating to potential copyright infringement.
This includes dealing with a high volume of requests from third parties to use songs from UMPGâs worldwide catalogue, whilst also helping UMPG UK-signed writers to clear samples of songs controlled by other publishers or third parties. My role also involves assisting with copyright infringement claims.
What steps did you take early in your career to gain the experience and skills that led to your current position?
Rather than waiting for the perfect opportunity, I reached out to labels, volunteered at music festivals and even started my own club night.
Having a proactive mindset, getting out of my comfort zone and trying new things have all been imperative to progressing throughout my career. Essentially, the more you put in, the more you get out!
What early opportunities did you explore that were particularly valuable?
Starting with an internship at Mr Bongo Records and working my way up to Sync Manager was a huge milestone, allowing me to work with an incredible roster of artists, from Ebo Taylor to Marcos Valle.
Alongside this, I also started my own club night with friends at university, putting on sell-out shows with all-female line-ups, including Sherelle, Shy One and Tash LC.
How has the opportunity landscape changed since then?
Opportunities are always competitive, especially in the music business, but they are always out there. Itâs all about perseverance and sometimes being in the right place at the right time.
I hope the landscape has improved in terms of inclusivity; however, I feel we still have a long way to go.
Are there specific internships, projects, or initiatives you would recommend to newcomers?
If youâre still at university, make the most of your universityâs contacts and get looking for internship opportunities. Just because youâre still studying doesnât mean you canât already be gaining hands-on experience.
Real experience, and the credibility that comes with it, can often be more valuable than a qualification alone in this industry.
Donât be afraid to start your own projects and speak openly about them. Set up a LinkedIn profile as well, as itâs a valuable tool for networking and finding job opportunities.
What advice do you have for building and leveraging a professional network in the music industry?
Building a good reputation, being reliable, consistent and professional, is key.
Of course, being polite and personable is non-negotiable. But itâs just as important to know your stuff, back yourself, and do your research where appropriate so youâre speaking with confidence and genuine interest.
You can be proactive without being pushy, itâs all about finding the right balance. Basically, be respectful of their time and humanity and donât be unnecessarily difficult.
How has the evolving digital landscape impacted your role, and how do you stay ahead?
Staying on top of advances in AI is essential, and itâs something I find genuinely fascinating. Our leadership instills in all of us a deep respect for the value of our songwritersâ work and a responsibility to protect it. Across our global company, that shared belief drives us to ensure our writersâ rights are protected and their interests advanced at every technological turn.
What trends do you see on the horizon, and how can early-career professionals prepare for them?
The rise of AI is having a great impact on the music landscape, reshaping how music is created, distributed and consumed. Our company keeps us well-informed, and those in the early stages of their careers should read up on everything having to do with the areas theyâre interested in.
What is one piece of advice you wish you had received at the start of your career?
Seek out the advice and guidance of more women who are ahead of you on the path youâve chosen. Their experience and insight is invaluable, and I wish I had sought them out sooner.