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.
Elizabeth Perryman spent a year studying law before realising it wasnât what she wanted and completely changing direction. That kind of reset takes guts, and it led her to where she is now: Senior Sync Executive at Believe Music Publishing and Sentric, placing music in TV, film and adverts while managing the web of relationships and licensing deals that make those placements actually happen.
Sync is still heavily relationship-driven, and Elizabeth has built a strong network across the music supervisors who work for the sync clients, as well as artists, managers and labels. Sheâs proactive about staying connected, sharing new tracks, inviting people to gigs, checking in regularly, and makes a point of getting down to London at least once a month for meetings and industry events.
But sheâs also proof that you donât have to be London-based to build a successful career in sync anymore. The North, Liverpool, Manchester, Leeds, has far more genuine pathways now than when she started.
That said, sheâs clear-eyed about how competitive itâs become. The old line âitâs not what you know, itâs who you knowâ still applies, this is an industry built on connections.
But today, understanding the industry itself matters just as much. You need to be able to step into conversations with confidence and actually demonstrate what you know. Thatâs what sets you apart when everyone else is also trying to build a network.
Her advice if youâre starting out: be yourself, be approachable, and focus on making real connections rather than transactional ones. Donât be afraid to reach out to people you admire. The worst that happens is no response, and youâve lost nothing by trying. And remember, you deserve to be in that room just as much as everybody else.
Read the full Q&A with Elizabeth below đ
What's your current role in the music industry?
I am Senior Sync Executive at Believe Music Publishing and Sentric.
What does your general day-to-day look like?
No two days are quite the same, which keeps things interesting. Typically, I handle several creative briefs a day, mainly focused on TV and film, though I do enjoy the occasional advert. The rest of my time is spent managing quotes, securing approvals and guiding each request through to the licensing stage.
I also make a point of proactively connecting with music supervisors, whether thatâs sharing new tracks, inviting them to gigs or simply checking in. Alongside this, I try to maintain strong relationships with artists, managers and labels, ensuring we stay aligned on new releases. I can then pass this on internally, working closely with internal teams to ensure our teams are working with our whole catalogue.
I try to get down to London at least once a month, where I make the most of the time with meeting industry contacts, music supervisors, clients and/or writers, and attending industry events
What steps did you take early in your career to gain experience and build skills to get you where you are now?
I didnât map out a clear path from the start, which led me to sync. I actually began studying law at university, but after a year realised it wasnât the right fit. That experience pushed me to reflect and reassess what I really wanted and ultimately led me to explore a completely new direction but still within the world of music, which was my passion.
Through a mix of curiosity and plenty of research, I discovered the course I was lucky enough to enrol on, which then opened the door to my placement at Sentric Music. A big part of that journey was learning to challenge myself; especially when it came to confidence. I made a conscious effort to say yes to opportunities that felt slightly outside my comfort zone, knowing that would help me grow.
That meant getting involved in internal projects but also putting myself forward for panels and networking events that I might once have avoided. Over time, those experiences helped me build both confidence and a stronger sense of belonging in the industry.
What opportunities did you explore early on that were particularly valuable?
At university, I had the chance to explore different areas of the music industry through various work experience placements, volunteering etc, which was a lot of trial and error.
While it wasnât quite the same as real-world experience, it helped me quickly identify what wasnât for me, which in turn made it easier to focus on opportunities that were a better fit. That ultimately led me to a placement that proved genuinely valuable - and to a role Iâm still happy in today.
Along the way, I was also given the opportunity to create and host my own events, manage artists and gain hands-on experience across a range of areas. Every project I took on played a part in shaping my skill set, and many of the things I learned then are still central to how I work now.
Has the opportunity landscape changed since then?
It feels like the industry has become more decentralised. When I was starting out, Sentric felt like one of the only real opportunities in the North. Now, across Liverpool, Manchester and Leeds, there are far more pathways to explore without needing to relocate to London.
That said, it also feels more competitive than ever, and arguably harder to break into. The sync world in particular is still very relationship-driven, so being immersed in those networks can make a real difference. At the same time, there are more people than ever aiming to build a career in music.
One piece of advice thatâs always stuck with me is, âitâs not what you know, itâs who you knowâ. Thereâs definitely truth in that; this is certainly an industry built on connections, and relationships can open doors.
But in todayâs climate, itâs just as important, if not more so, to have a solid understanding of the industry itself. Being able to step into those conversations with confidence, make the most of them, and demonstrate your knowledge is what really sets you apart
Are there any specific internships, projects, or initiatives that you would recommend to newcomers looking to pursue a similar role?
Whilst there is a wealth of information available online if you do some light research, I have found that if youâre interested in exploring publishing, itâs well worth checking out the MPA website, which offers a range of education and training courses tailored to the field.
Another great resource is AIM. They run events aimed at emerging independent artists, labels and entrepreneurs, including sessions focused specifically on sync that offer insight into getting started. They also host excellent networking events, which are invaluable for making connections in the industry.
There are a lot of DIY distributors and publishers now that have âknowledge basesâ and guides/glossaries on their website to educate their clients, as the DIY space in the music industry is more prevalent than ever.
What advice do you have for building and leveraging a professional network in the music industry?
It might sound cringe, but be yourself, be approachable, friendly and genuine. Get to as many events as you can and meet as many people as possible, but focus on making real connections rather than coming across as transactional. For me, the strongest professional relationships have always come from authentic, natural interactions.
Donât be afraid to reach out to people you admire and ask for advice. Most people are far more approachable than they seem, and theyâve all been in your position at some point. The worst that can happen is you donât get a response or they say no; and if thatâs the case, youâve lost nothing by trying.
How has the evolving digital landscape impacted your role, and where do you focus to stay ahead?
I feel optimistic about the digital landscape. Weâre currently trialling a number of AI platforms as tools for sync, but theyâre there to support our work, not replace the creative input behind it. That distinction is important, and it reinforces the value of human perspective and taste.
Thereâs real potential in these technologies to make our processes faster and more efficient without losing the human element. Staying open to experimenting with new tools feels essential, especially as others in the industry, including competitors, are doing the same.
What trends or changes do you see on the horizon for the music industry, and how can early career professionals prepare for them?
I think itâs about staying adaptable in a tech-driven industry, understanding how these tools can support and enhance your work, without letting them take over or distract from what really matters, which is creating music you truly love and believe in, or working with music that you truly love and believe in!
What's one piece of advice you wish someone had given you at the start of your career?
You deserve to be in that room or at that table just as much as everybody else!