As part of our Horizon Future Leaders series of interviews, we are connecting with the music industry’s next generation of leaders to gather candid advice and insights into their career journeys.
This week we caught up with Marta Martinez, the founder of Bedmar Music, an artist management company focused on building sustainable, fulfilling careers on artists’ own terms. Her work blends creative strategy and business thinking, helping artists grow their audiences, develop direct-to-fan relationships, and build artist-owned channels that prioritise connection over algorithms.
She’s clear that careers in music aren’t built on a fixed path and hers hasn’t been either. From early experience as a session violinist to completing an MBA and joining the MMF Accelerator programme, Marta has stayed adaptable and entrepreneurial, learning by doing and investing in both her artists and her own development.
Her advice for anyone coming up in the industry? Don’t wait for permission. Focus on the kind of work and relationships you want to build. Be consistent, stay curious about where the industry is heading - and centre the artist, always.
👇 Keep reading for Marta’s reflections on leading with care, navigating uncertainty, and why direct connection and trust matter more than ever.
What’s your current role in the music industry?
I’m an artist manager and the founder of Bedmar Music, an artist management company dedicated to helping artists build long-term, fulfilling careers on their own terms.
I work with a diverse roster of artists - from more established names like Skinny Living, Hugo Barriol and producer Angus Parkin, to rising talents such as Niamh Evans and Rachel Newnham, as well as artists at various stages in between - the full roster is on our website.
My role blends creative strategy with business thinking - I work closely with each artist to shape their vision, lead their campaigns, grow their audiences and develop sustainable income streams. For me, it’s about championing both the artistry and the business, making sure the two are aligned so artists can thrive over time.
What does your general day to day look like?
Every day is different, depending on what stage each artist is at. One day I might be negotiating a deal, applying for funding or managing logistics; another I’m deep in creative planning, budgeting, mapping out a release plan or checking in with artists on their vision and goals.
I also spend a lot of time working on audience development - how to grow an artist’s audience, how to monetise that relationship and how to build a sustainable career. Networking, meetings and going to shows are also a regular part of my week, catching up with collaborators, scouting new talent, exploring new partnerships and staying connected with the wider industry.
A lot of what I do is about juggling hands-on, day-to-day tasks with longer-term strategic thinking, as well as balancing creative ideas with what’s realistic and sustainable from a business point of view, making sure the strategy aligns with the artist’s vision and long-term goals.
What steps did you take early in your career to gain experience and build skills to get you where you are now?
I began my journey in music as a professional violinist, classically trained from a young age and working as a session musician by the time I was sixteen.
That experience gave me a deep understanding not just of music, but of what it takes to be an artist: the discipline, the vulnerability and the creative drive. It also shaped how I work with artists today, with empathy and a genuine understanding of their world.
Over time, I realised I was equally passionate about the business side of the industry. Alongside my music degree, I studied business management and began approaching artist development like building a business - thinking in terms of vision, brand, strategy and sustainability.
I gained experience across various areas of the industry - first in Spain, where I’m originally from, and later in the UK - including artist management, live events, marketing and social media. That gave me a 360° view of how everything connects, as well as insight into the nuances of the industry in different markets.
I also invested in further education, completing an MBA and a master’s in artist development. But more importantly, I worked closely with artists on their early releases and projects, and learning by doing and building trust-based relationships became the foundation of my approach to management.
I’ve always been drawn to helping artists tell their stories and connect with audiences, and that has remained at the heart of everything I do.
What opportunities did you explore early on that were particularly valuable?
Being involved in real-world artist projects has taught me the most: managing early releases, booking shows, writing copy, setting budgets and figuring things out when things didn’t go to plan. As a manager, you’re constantly problem-solving and thinking outside the box, and the best way to build those skills is through hands-on experience.
I joined the Music Managers Forum as soon as I moved to London and made a point of attending as many networking events as possible. After five years as a member, I was lucky to be selected for their Accelerator programme last year - a real turning point. It gave me structure, practical tools and a brilliant network of peers who truly understood what it’s like to build a management business from the ground up.
Even though we’re always speaking to people, being an independent manager can feel isolating at times - we often focus so much on our artists that we forget to invest in our own growth and wellbeing. That programme was a powerful reminder that you don’t have to do it all alone.
Has the opportunity landscape changed since then?
Yes and no! There are definitely more resources and schemes available now, especially around funding, education and representation, which is great to see.
But the reality is that many people in music are still figuring things out as they go, and access often still depends on who you know, how resilient you are, and your ability to build your own opportunities when they’re not handed to you.
At the same time, the digital space has opened up new ways to build a presence and make meaningful connections, even outside traditional industry circles, lowering the barriers to entry in many areas.
But it’s also added pressure, since artists and managers are now expected to wear more hats than ever, and that’s not always sustainable without the right support.
Are there any specific internships, projects, or initiatives that you would recommend to newcomers looking to pursue a similar role?
The MMF is a brilliant place to start, no matter what stage you’re at. Their resources and events are incredibly valuable, and for managers who’ve already begun building their business, the Accelerator programme can be a real game-changer. Networks like shesaid.so, Jump Global, Cats Mother and Amplify Her are also great for learning, finding community, and broadening your perspective.
That said, don’t underestimate the value of small, self-initiated projects. Working directly with artists, even on a small scale, is one of the most effective ways to learn. You develop real skills by doing: releasing music, promoting a show, writing a bio, managing a budget…
When I moved to London, my first job in the industry was as a show rep for a few promoters. I’ve always loved live music, and it was a flexible role I could fit around my master’s. I got to discover and meet new artists, build my network and see how things worked behind the scenes.
Those early experiences gave me a much better understanding of the ecosystem and helped me grow in confidence, build relationships and get clearer on where I wanted to go next. That knowledge of the live side of the industry has continued to be hugely useful in my work as a manager, so I’d definitely recommend it to anyone starting out.
Ultimately, there’s no single route into this role. Whether it’s an internship, a part-time job or something you’ve created yourself, the important thing is to get involved. Say yes to what’s in front of you, stay curious and let your path take shape as you go!
What advice do you have for building and leveraging a professional network in the music industry?
Be genuinely interested in people. The music industry runs on relationships - not the transactional kind, but the kind built on shared values, mutual respect and showing up over time.
Go to things: industry panels, gigs, workshops. Support other people’s work, help others whenever you can, follow up when someone gives you their time, and stay in touch in a way that feels meaningful, not opportunistic. It’s not about collecting contacts, it’s about building and being part of a community.
Also, remember that your peers now will become your collaborators, advocates and sounding boards down the line. Keep them close, grow together and remember to celebrate and support each other’s journeys.
How has the evolving digital landscape impacted your role, and where do you focus to stay ahead?
Digital has changed everything - from how artists release music to how they connect with fans and how they make a living.
As a manager, I focus a lot on developing direct-to-fan relationships and building artist-owned ecosystems: mailing lists, memberships, exclusive content, merch, experiences and fan communities that go beyond the algorithm and create something more lasting.
That also means staying across new tools, platforms and audience behaviours, not to chase trends, but to understand where attention is moving and what opportunities that creates.
I try to keep a balanced view: using digital strategically while also protecting the artist’s energy, time and creativity. Not everything has to be content - sometimes the most powerful thing you can do is focus on the music, the story and how it all connects back to the fan.
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 we’ll continue to see artists taking more control over their careers, building sustainable businesses around their music, often outside of traditional systems.
Direct-to-fan is becoming more important than ever - not just as a revenue stream, but as a way of building community, retaining ownership and creating long-term stability. There’s a growing emphasis on artist-owned channels and ecosystems: newsletters, memberships, exclusive content, merch, live experiences… all of which put the relationship with the audience at the centre. It’s about moving away from platform dependency and building something more lasting.
For early-career professionals, that means being adaptable, entrepreneurial and artist-centred. It’s not just about knowing how the industry works now, but staying curious about where it’s heading - whether that’s new platforms, fan engagement models, or using AI tools to streamline workflows and free up more space for creative thinking.
The industry will keep evolving, but I’m a big believer that if you stay focused on adding real value and helping artists build on their own terms, you’ll always have a place in it.
What’s one piece of advice you wish someone had given you at the start of your career?
Don’t wait to be picked or for opportunities to land in your lap. The music industry doesn’t follow a linear path, so build your own and stay focused on the kind of work and working relationships you want to create. Work with people you believe in, learn by doing and stay consistent.
Trust is one of your greatest currencies in this business: earn it, protect it and always lead with it.
It’s not an easy industry and there will be challenges, but it can also be one of the most rewarding journeys you’ll ever take. Stay grounded, celebrate even the small wins, build a life outside of your job too - that'll help you keep sane and do a better job in the long run - and don’t forget to enjoy the ride!
