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 Quentin Martins, Senior Manager Of Commercial Partnerships at Merlin, the digital licensing organisation for independent record labels and music distributors.
Like many, Quentin began his music career in his own band before moving on to organising shows and working hard to educate himself and make professional connections. This dedication eventually led to internships that became his entry point into the industry.
Today, he’s Senior Manager Of Commercial Partnerships at Merlin, helping members optimise their partnerships with digital service providers. Reflecting on his journey, Quentin shares valuable insights on breaking into the industry, building expertise and staying adaptable in a rapidly changing field.
His advice for starting out? Leverage online communities like LinkedIn and Facebook groups, educate yourself on key topics like master rights and metadata, and attend panels or conferences to stay informed. Focus on specialising rather than generalising, but don’t hesitate to change direction as you grow.
Read the full Q&A with Quentin below 👇
What’s your current role in the music industry?
I’m currently Senior Manager Of Commercial Partnerships at Merlin.
What does your general day to day look like?
I maintain strong relationships with digital service providers and Merlin’s members to ensure everyone fully benefits from our licensing deals. I help our members optimise their use of tools - for example the YouTube CMS - and take advantage of other marketing opportunities on key platforms.
I also make sure to keep my knowledge of music business current affairs sharp, including digital marketing opportunities, new DSP features and AI.
What opportunities did you explore early on that were particularly valuable?
Like many in this industry, I started by creating a band. Then, I organised punk gigs in Brussels with a friend. We were booking international bands during their European tours. We also created a compilation, followed by a tour, called The Noise Belgium to promote independent Belgian bands.
On the label side, I was trying to meet as many record label people as possible. To meet them, I tried a lot of different methods. I waited at backstage doors to chat - not fruitful and often cold, would not recommend! I worked a bit as a stagehand. I even went to the Epitaph office in LA to ask for an internship - I didn’t get that internship, but it was fun to go.
In the end, I found an internship at the indie label I Scream Records. But my time at PIAS Belgium is what helped me develop my knowledge of the international music business. That is where I got to work on the release of a Placebo album.
Then, Andrew Cream, an English singer songwriter that we booked for a gig in Brussels, put me in contact with Mike Hemsley at the indie labels Hassle Records and Full Time Hobby to start an internship in London.
Among those opportunities, my internship at Hassle Records and Full Time Hobby was extremely valuable. It allowed me to come live in London and take my first step into the UK music industry.
The team - Nigel, Wes, Mike, Mease, Charlie, Ed and Karen - taught me a lot about artist development, marketing, PR and digital distribution. I got to work for artists such as Lonely The Brave, We Are The Ocean and Timber Timbre.
Has the opportunity landscape changed since then?
Yes, I think that the development of platforms like Discord, Facebook groups, and LinkedIn has reduced the distance between music industry professionals and people wanting to break into the industry.
It is also easier to start your own label. Starting your own projects is important. It shows you are passionate and can take initiative.
Are there any specific internships, projects, or initiatives that you would recommend to newcomers looking to pursue a similar role?
Build your knowledge. Learn about master rights, metadata, music distribution, deal structures, digital marketing, AI. I also found the famous book ‘All You Need to Know About The Music Business’ to be very useful. Attend panels organised by structures such as shesaid.so.
Check the Facebook group Foot In The Door - Entry level music jobs and internships.
Again, start your own projects, for example, manage an artist, release music, start a YouTube channel about music business news.
What advice do you have for building and leveraging a professional network in the music industry?
Platforms like LinkedIn can be surprisingly powerful. Someone got in touch via LinkedIn and asked me to have a coffee to chat about my job. I found it smart and bold.
Be curious about the industry and attend events. Keep an eye on events happening at Tileyard in London, Pirate Studios, shesaid.so or attend conferences like The Great Escape.
Most importantly, be kind to everyone. Be curious about people’s stories. Ask questions. Treat people with genuine interest and not like Pokemon cards you collect. Dare to ask people for a coffee or a fifteen minute Zoom call. Stay in touch.
How has the evolving digital landscape impacted your role, and where do you focus to stay ahead?
Staying ahead of the digital curve is crucial. As we continue to add new DSPs to Merlin’s suite of digital partnerships, I ensure I’m always up to date on what’s out there. Whether it’s new platforms, evolving tools or emerging trends, being informed is key to serving Merlin’s members effectively.
What trends or changes do you see on the horizon for the music industry, and how can early career professionals prepare for them?
- The obvious one is AI. Read all the articles you can find about it.
- Learn about the music business in LATAM and Africa.
- Superfans development and direct-to-fan.
- Like the indie sector, develop your ability to adapt.
What’s one piece of advice you wish someone had given you at the start of your career?
It would have been useful to know early on that developing knowledge and being persistent will go a long way. Choose a topic to specialise in because “I want to work in the music business” is not precise enough. You don’t have to stick to that choice for your whole career. If you chose a career in music for the glamorous side, you might be disappointed.