As part of our Horizon Future Leaders series of interviews, we are connecting with the music industryās next generation of leaders to gather candid advice and insights into their career journeys.
This week, we caught up with Lily Batten, Senior PR Consultant and founder of an industry first PR subscription service I Heard You Clubās āPR Bestieā.
Having worked in-house at both Universal and Sony, running campaigns across major and independent labels, Lily took that experience and built something the industry hadn't quite seen before: a monthly PR subscription.
The idea grew from the years of "do you fancy a drink?" coffees, festival run-ins, loud gig chats, and "can we grab 5 minutes?" conversations where artists kept asking the same questions. Rather than keep answering on the fly, she built a service designed to give expert feedback properly, personally and affordably.
For Ā£50 a month, artists get weekly one-to-one feedback on whatever they're actually working on; press releases, artwork, pitch emails, social strategy, funding applications, you name it. It's run by people with major label experience who donāt want artists spending their money on the wrong things at the wrong time. The model is designed for the artists who are done guessing, and are ready to make informed decisions, spend wisely, and chart their own course.
What makes Lily's journey worth paying attention to is simple - she spotted a specific problem and built a real business to solve it.
She never applied for a job in the traditional sense; everything came through word of mouth, built by showing up consistently and treating networking as an exchange of value rather than a transaction. She's also open about being neurodiverse and structuring her work in ways that suit how she operates, a key reminder that there's no single template for a career in this industry.
Read the full Q&A with Lily below š
Whatās your current role in the music industry?
Iām a Senior PR Consultant and I now run my own PR consultancy. I have been 'in house' at both Universal and Sony music, as well as a range of PR agencies but, as a neurodiverse person, I find that working for myself allows me to work as and when I want. I only recently realised that I work quite differently to others, and that that isn't necessarily a bad thing!
I work frequently with major labels including Sony, Universal and Warner, alongside independent artists and companies as freelance clients. This could be purpose driven clients like Hope Solutions, the entertainment sustainability consultants who recently released the report with MIT, Warner, Live Nation and Coldplay on how to make live shows more environmentally responsible.
I also work with Ripe Records, the independent Liverpool label championing talent beyond the cityās traditional stereotypes.
I also recently launched my own 'I Heard You Club' service, āPR Bestieā, which fills what I see as a gap that had become glaringly obvious to me. I wanted to support musicians just starting out who felt like theyāre launching music into the abyss and want transparency about what actually works. It's something quite different for me, but I'm loving the switch up in energy so far.
What does your general day-to-day look like?
Lots of coffees, events, chats and photoshoots alongside deep focus time. Iāve had to become extremely organised and disciplined with my diary. It's not something that's come naturally to me! I block my days carefully, Iāve learned to say no, and Iām strict about boundaries. If Iām working all day and then heading into an evening event, I make sure I carve out quiet time in between.
I do both on-the-ground pitching and top-level strategy and I genuinely enjoy doing both. Some days Iām drafting long-term campaign narratives or analysing positioning; other days Iām running interviews, hosting, or pitching press in real time. I get overstimulated in busy office environments, but I also find that energy inspiring and love being around people who spark ideas and momentum. I work with such incredible people.
What steps did you take early in your career to gain experience and build skills?
I interned at three very different companies. All of them were PR agencies of varying degrees. At the time, I didnāt realise how valuable that would be, but being exposed to different working styles, genres and leadership approaches taught me so much. It gave me perspective and adaptability (two things that are crucial in Music PR, alongside resilience!).
What opportunities did you explore early on that were particularly valuable?
Saying yes to anything that got me on the ground. Visibility is so important early on. And to be honest, it still is for me. While I now work from home one or two days a week to focus, at the start I made sure senior people saw me at events, helping to run interviews, staying late if needed. Being present builds trust.
Has the opportunity landscape changed since then?
Both positively and negatively. Thereās more access and more ways in, but I would personally find it difficult to do an internship entirely online. Being in the room makes it easier to ask small questions and build confidence. Over email or Slack, small uncertainties can feel bigger than they are.
Are there any internships, projects or initiatives youād recommend?
Longer internships are best. They give you time to take on responsibility and prove yourself. Even if itās not in your dream genre, the skills are interchangeable: communication, instinct, cultural awareness, organisation. The music industry is full of people using multiple skill sets at once. Some days Iām insular with headphones on, focused and strategic. Other days I barely get to my emails because Iām out building relationships and making people feel comfortable.
When I look back at the start of my career, it's also interesting connecting who knew people and how that helped me get jobs in the future. People remembered me because I was proactive and keen to learn. On reflection, I don't think I've ever applied for a job in the traditional way, it's all been word of mouth!
What advice do you have for building and leveraging a professional network?
I try to reframe the word ānetworking.ā It can feel transactional, but really itās just an exchange of value. Every conversation is networking. I met a music manager in a sauna the other day! We got chatting, and I'm sure we'll bump into each other again. There are so many generous people in this industry who genuinely want to help - if you approach things with curiosity, initiative and respect.
How has the evolving digital landscape impacted your role?
Itās made me obsessed with learning. I constantly pay attention to consumer behaviour, cultural shifts and how major events impact the way people engage with music and media. Staying curious and adaptable is essential.
What trends or changes do you see on the horizon, and how can early career professionals prepare?
Whether you want to engage with AI or not, your competitors will be. Itās important to understand it. Even if you ultimately position yourself against it. I actually love the rise of anti-AI movements and seeing artists and brands creatively engage with that conversation. The key is to stay informed, flexible and thoughtful.
Whatās one piece of advice you wish someone had given you at the start of your career?
Donāt take the ānoāsā personally because there will be many!