Measure of Music, the highly acclaimed music conference is back this weekend breaking down barriers for emerging artists

Measure of Music, the highly acclaimed music conference is back this weekend breaking down barriers for emerging artists

Presented by Audiense, the online event will feature multiple days of panels, networking opportunities, a career fair and resources for artists, among other exciting happenings – all with the intention of breaking down barriers of entry into the music business for all, with a particular focus on people from marginalized communities. The event’s hackathon will also return where participants from all over the world collaborate on music and tech projects that they will then present to an esteemed audience. Measure of Music’s most recent conference had 3,000 people signed up from more than 90 countries across 20 time zones. 

Spearheaded and curated by music executive Christine Osazuwa – the event is now in its fourth year and consistently features majority-minority speakers, attendees, and project participants in terms of both gender and race. Measure of Music makes it a priority to compensate all speakers and weekend support staff, reinforcing its commitment to equity and the value we place on everyone’s time and contributions. The event is also free of charge to all those who want to attend. To register, please visit this link.  

We spoke to Christine to find out more about her journey

What has been the driving force or vision behind your career?

This is going to sound really cheesy, but it’s always been to help people. I knew I wanted to be in the music industry before I fully understood what the music industry was. When I was young, I remember watching award shows and seeing artists get on stage. They’d thank God and their moms and then started listing out a bunch of other thank yous. I remember thinking, “How do I become one of those thank you’s?” 

It felt magical to be the driving force behind the success of others, so I’ve kind of shaped my career around doing just that.

I’ve spent most of my career helping artists and other music executives as much as I could. From 15 I started running artist street teams–doing both digital and street marketing which lead to my career in international marketing strategy. As I ascended in my career I saw so much inequality and opaqueness in the music industry that I wanted to do a small part to help remedy that so I embarked on many diversity & inclusion efforts which turned into my first board roles. I also started Measure of Music to help open the doors to the music industry to underrepresented groups all around the world.

What advice would you give to young music execs seeking to make a name for themselves in the industry?

Figure out your why and make it realistic. I always joke that if there’s anything you love more than music–go do that. You have to make sure this is really what you want. It can’t be for the money because there are plenty of higher paying jobs elsewhere. It can’t be to hang out with superstars because very few roles in this industry are actually artist facing. So, you need to dig deeper and figure out what contribution you’re trying to make, not what the industry can do for you. 

Once you figure that out, then you have to go out and do.

I always say the best & worst thing about the music industry is anyone can work in the music industry. If you wait around for someone to give you permission to be in the music industry, you may wait your whole life. 

Contrary to what’s always said, the industry cares more about what you’ve done than what or even who you know. If you want to be an artist manager, you have to find an artist and manage them. I started booking shows in church basements and town halls before I was old enough to drive a car. You just go out and do what you want to do, talk about it and the right people will notice or eventually you become the right people anyway.

What have been your highlights in your career?

I’ve had an incredible career mostly from being in the right place at the right time, but I’ve had the immense privilege of meeting my idols (sometimes working with them), traveling the world to work and speak, and being recognized my institutions I’ve admired my entire life.

The first show I booked was my 16th birthday party which was headlined by hometown heroes, All Time Low. Following that, I launched a print music magazine when I was 16 about local music in Baltimore, which expanded to cover the whole of the US East Coast.

For my senior thesis in undergrad I filmed & directed a 90 minute documentary about fandom in the pop punk music scene which I filmed across concerts & festivals across the US including on Vans Warped Tour.

I moved abroad to Stockholm and while working for Universal Music Sweden, I was part of presenting artists’ gold records, attended the Swedish Grammy Awards and was awarded Rookie of the Year. (I used the prize money from winning ROTY to get to meet Michelle Obama on her book tour!).

I was part of the first cohort for PRS Foundation’s POWER UP Programme, a competitive program designed to help elevate Black artists & executives in the UK music industry.

Plus there’s just so many opportunities and acknowledgements that I’ve gotten over the years. I still remember the first time I was mentioned in Billboard, and I promise that being mentioned in publications you loved as a kid absolutely never gets old.

Topics for 2024’s panels include Maximizing Live Music Audience Engagement; Data-Driven Artist Marketing; Building Your Music Tech Startup; an Analytics Workshop; Upstreaming Music and many more. Just announced keynotes for the conference include YolanDa Brown OBE, Saxophonist and Chair, BPI (British Phonographic Industry); Adetokunbo Oyelola, CEO, Black Grape Global (and manager to YolanDa); Temi Adeniji, MD & SVP, SSA & Special Projects, Warner Music Africa; and Bruce Hamilton, Founder & General Partner of Everybody Ventures. Confirmed details of all panels and speakers can be found at