Chloé Ameh has emphasised the power of independence in the music industry in a new interview with Music Week.
Ameh left her position as head of Sony imprint Since ’93 last year to launch consultancy business That’s My Jamm and, alongside running that operation is also general manager at Muzo By Uzo, the label founded by MNEK.
Ameh and her team won a Music Week Award for their marketing campaign for Cat Burns in 2023, while she has helped steer campaigns for the likes of Beyoncé, Tyla, Tems, Pharrell Williams, Fredo and more. Now though, the executive is relishing her independent focus.
“Times have changed,” said Ameh, who spent a decade at Sony, where she also worked across RCA, Epic and Columbia. “The landscape is so different now. Major labels are powerhouses and I’d never discredit what can be achieved when it’s done right, but going down the independent path can still lead to just as much success.”
Ameh wants to “level the playing field” with That’s My Jamm and she has told Music Week exactly how she plans to do so, along with holding court on supporting artists, launching a company and her experience of motherhood in music.
Here, we bring you the interview in full…
It's now a year since you left Sony, how have you adjusted to life outside a major label?
“In all honesty it’s been a whirlwind. A major label had been the backdrop to my career for a decade, so in many ways it felt like my comfort blanket had been stripped off. The biggest adjustment has been in terms of my frame of mind. Certain practices of mine had been very much moulded by a well oiled and regimented system. I’ve had to reprogram and let it sink in that I have the opportunity to do things completely my own way. It’s a liberating feeling, but it has taken some getting used to.”
Why did you decide to launch your own business and what have you learned from the process?
“Because I wanted to use my experience and help talent without the restrictions that come with working at big companies. After working in one place for an extensive amount of time, I was both excited and daunted at the thought of a new challenge on my own terms. I’ve always been a person with lots of ideas, but have never had the opportunity or courage to fully explore them, so I took a chance and made the leap.
“The process has taught me to have self-belief and focus. I’m used to working in a big team where we divide and conquer as a whole. Working for myself has meant taking on a lot more, which has been a real challenge. The scale is more manageable but there are additional plates to spin. Sadly there’s no hiding from the admin!
“The general graft has changed too. Leaning more on the network I’ve built over the years has really helped and reinforced that valuable lesson; your network is your net worth. Also, we’re in a new era and working remotely has so many advantages. I wouldn’t change it, but at times especially during the initial adjustment phase, there was definitely a feeling of being disconnected and a little isolated. The positive is that the reduced social aspect of being in a big office has allowed me to really get my head down and build. I’m a person that’s committed to getting things done, so through the challenges the overarching positive is knowing that I’ll continue to push until I meet my goals.”
If you’re on the outside trying to get in, the music industry can feel like one big clique
Chloé Ameh
Your stated mission is to level the playing field for independent talent. Why does that need to happen and how can you do it?
“When I was growing up, my image of the music industry was that if your talent as an artist was next level, you’d be discovered and have massive opportunities. Having worked in the industry for this long, I’ve come to understand it from a few different perspectives. The music industry can feel like a bit of a minefield. As an artist, and even as an executive, there’s no set way to get in and forge a career. Sure, there are internships and entry-level roles for execs, but for every vacancy there are hundreds of people craving the opportunity. It’s limiting. For artists, getting to grips with where to start, who to speak to and who to trust can feel isolating. Many have been lucky or have connections to help start the journey, but if you’re on the outside trying to get in without those things, it can feel like one big clique.
“As a music fan through and through, I feel gutted at the thought that there’s so much talent out there that won’t see the light of day. I plan to bridge that gap through initiatives I’m working on to facilitate self promotion, creativity and accessibility in a way that’s feasible across the board.”
You're also working on MNEK's label project. How did this come about and what are the goals?
“MNEK and I crossed paths on numerous occasions. The first time we met up to talk more officially about collaborating, we both had the same laptop carry-case. The design is quite abstract, so we were like, ‘This is a bit mad’. I saw that as a sign of two things - the first being that our paths were aligning and the second, that we both have great taste! [Laughs]. We work well together and we’re on the same wavelength. Our perspectives are from opposite ends of the scale given the contrast in our experiences, but those differences complement each other.
“The goal from the start has been to work to a high level of collaboration and artist development, but to also channel our passion into charity, giving back and creating opportunities for developing executives, while also tapping into the nightclub scene.
“We are signing acts and making and breaking hits is absolutely on the agenda. Tyler Lewis is the first artist announced via the label and has been our flagship act since launching in January. There is much more to come, too!”
Does the music industry look after artists well enough?
“The industry does provide huge opportunities for artists, but it also presents challenges. The discussions in relation to artist rights are continuous and there's work to do to find a proportionate and acceptable solution for artists around how they're financially compensated in this streaming era. Limited understanding and transparency can lead to frustration, which we’ve all seen play out in the form of ranting on social media, for example. Artists’ teams can and should take more onus here to ensure there’s a full comprehension of deal terms and royalty calculations, and then push for transparency where it’s lacking. I’ve always encouraged any artist I’ve advised to make it their business to understand the detail beyond the enticement of a short-term pay day. It goes without saying that labels should be offering full transparency. As a side note, labels do assume a lot of financial risk in signing artists which perhaps isn’t fully appreciated in respect of interpreting the detail.”
Being a mum, or a parent and still managing to navigate the music industry is a super power
Chloé Ameh
How about in terms of support around mental health?
“Mental health and wellbeing support has improved notably, but it’s not a straightforward area. As individuals with varying journeys, adding the complexities of industry pressure can present itself in different ways that many people haven’t been trained to recognise. There’s more being done to tackle this preemptively and proactively which is great to see. I think there’s also a grey area when it comes to moral responsibility. The industry deals with a lot of budding and impressionable talent. For example, expecting those with limited life experience to responsibly manage large sums of money, might not turn out favourably. It’s difficult. Who should manage the issues in these instances? There are so many positive things happening and it is moving in the right direction, but there’s more to be done to build trust.”
And how well does the business support those who work in it?
“Once you’re in the industry there’s lots of exciting opportunities. Many frontline roles are highly pressured which is always going to tip the work-life balance. If you live, breathe and devote your social circles around music, you’re in a win-win situation, but it’s important to be mindful of burnout. Also, the landscape is in constant flux with consumption habits shifting. The impact is that the industry is susceptible to cyclical change as it constantly adapts. The knock-on effect means that job security can often be in question, as we’re seeing at the moment.”
Parenthood has been a big conversation in the industry of late - how would you describe your experience of motherhood in the business?
“Firstly, the juggle is real! Before starting my family, I thought a lot about when would be the right time. As an ambitious person I worried about falling behind and believed that career progression was just not possible. At that time the women around me who had had babies usually didn’t return back to work which reinforced my concerns.
“Being pregnant reduced how social I could be and on reflection made me realise how much revolved around shows and cocktail culture which I’d enjoyed. Being on maternity leave was another step removed. The industry is so fast paced and I felt left behind on top of mentally and physically adjusting to a new reality with a little human.
“After returning to work, the race to get up to speed was full on. I put on my game face and pushed through because I didn’t want to appear less able than anyone else. To be transparent, most days I’d had limited broken sleep the night before and my day had started much earlier than most with the morning routine. It was exhausting.
“Lockdown turned things around. Remote working gave me back the commute time. From that point there was a shift to create a more accommodating and supportive environment for parents from flexible working to childcare support. It was such a relief and massively welcomed.
“Being a mum, or a parent and still managing to navigate the music industry is a super power. The bottom line is it’s not easy but it’s so rewarding. Progress has been made in terms of support. I’d love to see recognition of those who are surviving and thriving.”
Finally, what are your hopes and dreams for your future as an exec?
“I’m really excited about what’s to come. The ultimate goal is to continue to build That’s My Jamm as a pioneer in the industry globally. Innovation, inclusion and impact; that’s the ambition.”
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