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 spoke to Mia Thornton, a creative producer, audio storyteller and content strategist whose career has taken shape far beyond traditional industry pathways. From grassroots projects in Liverpool to producing a BBC Sounds series and more, Mia’s journey is powered by instinct, community and a deep belief in the power of self-made opportunities.
Her reflections offer an honest look at navigating the ‘in-between’ stages of a creative career, the realities of freelancing, and the importance of carving out space even when the industry doesn’t hand it to you.
Read the full Q&A with Mia below 👇
What’s your current role in the music industry?
I’ve just stepped into the world of freelancing, but I usually describe myself as a Creative Producer - it’s the easiest way to sum up the mix of things I do. I kind of sit in a grey area where I dip in and out of different spaces.
When it comes to music, I focus on writing, digital content and storytelling in various forms. I’ve just produced a five-part audio series for BBC Sounds called Instrumental: Black British Trailblazers, which explores the legacy of black British music in genres like classical, punk and folk.
Outside of music but still within audio, I also freelance for BBC Sounds on the acquisitions team, which works on bringing new podcast titles over to BBC Sounds.
What does your general day to day look like?
Ouf! Hard question… and I know it’s a bit of a cliché, but genuinely no one day is the same. If I had to pull together a little ‘best bits’ highlight reel, it’d probably look something like this:
I usually start my morning with some kind of workout, always soundtracked by a deep house playlist - it helps me block out the noise and get in the zone for the day. Then it’s straight to the to-do list. I need to see my thoughts written down or they’ll live in my head rent-free forever.
During the day, I’ll usually be working on my BBC Sounds projects, listening to podcasts, editing, compiling content… the real behind-the-scenes stuff. I also try - emphasis on try - to update my LinkedIn, website or Instagram - some kind of flag-waving to remind people I still exist and make stuff.
Evenings are usually for smaller projects. At the moment, I’m running a social media campaign for a music artist, so I’ve been brainstorming content ideas and planning what we can shoot and create.
And then, when my brain is well and truly cooked, I wind down by playing Zelda on my Switch before I crash for the night.
What steps did you take early in your career to gain experience and build skills to get you where you are now?
I started out working for a digital magazine and membership platform for black women called Black Ballad.
I was their resident content creator, which meant writing articles, editing videos and creating graphics etc. I was always jumping at the chance to interview music artists, and over time I naturally became the go-to person for music content, it really helped me build confidence in both interviewing and storytelling.
At the same time, I had a radio show on a local Liverpool station called Melodic Distraction - RIP! - it wasn’t about DJing for me - I’ve never claimed to be a DJ - but I loved curating sound journeys and getting comfortable with my voice and music taste on air.
I guess I’ve always looked for ways to connect my skillset to music. If there was ever a way to make something intersect - whether through writing, producing or speaking - I’d go for it.
Sometimes, I wasn’t being offered certain chances, so I just made them. Whether that was pitching my own content ideas, starting the radio show or reaching out to artists myself, I tried to create the space I wanted to be in.
And honestly, I’m a big people person. I love to chat. So if there was ever someone interesting to speak to, I was putting myself forward for that conversation.
What opportunities did you explore early on that were particularly valuable?
Like I said, I wasn’t being offered much in the way of formal opportunities, especially being from the North East and living in Liverpool for the last nine years. There just weren’t loads of doors swinging open up north!
But weirdly, that ended up being a strength. In a smaller city, you really get the chance to grow and build your own community. A lot of my early projects came from within Liverpool - working with places like FACT, Melodic Distraction, National Museums Liverpool and 24 Kitchen Street.
Those spaces gave me room to experiment and figure out what kind of creative I wanted to be. When you’re working at a community level, it’s not about chasing industry approval, it’s about connection and representing the stories that matter to the people around you. That shaped everything for me and it’s something that’s at the core of my work today.
Has the opportunity landscape changed since then?
Yeah, I’d say the opportunity landscape has definitely shifted. I’m no longer in that 18-25 bracket, which means a lot of those early-career opportunities have disappeared.
What I’ve found tricky is that weird middle ground, where you’re too experienced for entry-level schemes, but not quite experienced enough for the big industry programmes or leadership roles. It can feel like you’re floating in this in-between space.
And I’ve noticed that collaboration looks different now too. It’s not negative, it’s just that everyone’s hustling, life is more expensive and free time is limited. So those fun, spontaneous projects people used to be up for don’t happen as often, because time and energy are stretched.
Are there any specific internships, projects, or initiatives that you would recommend to newcomers looking to pursue a similar role?
BBC Sounds’ Audio Lab was a great experience for me and if you’re looking to get into audio/podcasting, I would definitely recommend it. It really supports emerging audio creatives in developing original ideas, especially those from underrepresented backgrounds. You get proper time, mentorship, resources AND a salary (!!) to bring your vision to life, which is rare.
Aside from that, I’d recommend keeping an eye out for grassroots or community-led programmes too. Sometimes they don’t have the big name, but the support and network you build can be just as valuable. And don’t be afraid to create your own project if you can’t find the perfect fit. Sometimes the best way in is by making something yourself.
What advice do you have for building and leveraging a professional network in the music industry?
Firstly, have no shame - within reason! - You’ve got to put yourself out there, even if it feels uncomfortable. Rejection is part of the game, and you’ve got to accept it and keep moving.
Also, people are willing to help. Don’t be afraid to reach out, but make sure you’re doing it authentically. Work with people whose work you genuinely like and admire, not just for the sake of networking.
And also take it slow. It’s a marathon, not a sprint. You don’t need to meet everyone overnight. Maybe set a goal of connecting with just two new people a month. Do what works for you but don’t forget to push yourself sometimes too.
How has the evolving digital landscape impacted your role, and where do you focus to stay ahead?
The shift toward short, snappy content and the dominance of visuals has definitely been a challenge. I started out making longer-form videos at around 10 to 30 minutes where you could really explore an idea and build a narrative. The shorter stuff can be fun, but it’s not always satisfying in the same way.
There’s also this constant pressure to be visual. When I released my podcast, so many people asked if there’d be a documentary version and I was like… err, no? That’s not the point of a podcast. And also, I’ve just poured my heart into this audio series… isn’t that enough?! What more do you want from me!!
To stay ahead, I try to stay grounded in what I do well. Of course, you have to adapt and play the game a bit, but I really believe if you’ve got an eye, an ear or a skill for something, that will always be valuable - it’s just about finding the people who recognise that value.
What trends or changes do you see on the horizon for the music industry, and how can early career professionals prepare for them?
It's not necessarily a new trend, but I think we’re more aware and accepting of it now. Genres are becoming less defined and more fluid, especially in the black British music scene where artists are mixing everything from rock to indie to grime, artists like JD Cliffe, Nova Twins and Bob Vylan are killing it.
This creates so much space for creative freedom and innovation. For newcomers, it’s exciting because you don’t have to fit into one box. Being open to exploring and experimenting with different styles is a huge asset in today’s music world.
What’s one piece of advice you wish someone had given you at the start of your career?
One piece of advice I wish I’d heard earlier is that advice is helpful, but it’s not gospel…
So many people will tell you the best way to do things or what path to follow in a certain industry, but it’s so important to remember that no two careers are the same. Take what’s useful, but don’t get too caught up in other people’s blueprints - your journey is your own and that’s the beauty of it.